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charming, beautiful boy of about thirteen was wearing a sailor suit with an open collar and very pretty lacings. He caught my husband's attention immediately. This boy was tremendously attractive, and my husband was always watching him with his companions on the beach. He didn't pursue him through all of Venice—that he didn't do—but the boy did fascinate him, and he thought of him often. I still remember that my uncle, Privy
Counsellor Friedberg, a famous professor of canon law in Leipzig, was outraged: "What a story! And a married man with a family!"
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47:
227:. While shipbound and en route to the island, he sees an elderly man in company with a group of high-spirited youths, who has tried hard to create the illusion of his own youth with a wig, false teeth, make-up, and foppish attire. Aschenbach turns away in disgust. Later, he has a disturbing encounter with an unlicensed gondolier—another red-haired, skull-faced foreigner—who repeats "I can row you well" when Aschenbach orders him to return to the wharf.
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singers who entertain at the hotel one night. Aschenbach listens entranced to songs that, in his former life, he would have despised – all the while stealing glances at Tadzio, who is leaning on a nearby parapet in a classically beautiful pose. The boy eventually returns
Aschenbach's glances, and although the moment is brief, it instills in the writer a sense that the attraction may be mutual.
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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. To Aschenbach, it is as if the boy is beckoning to him: He tries to rise and follow, only to collapse sideways into his chair.
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Aschenbach begins to fret about his aging face and body. In an attempt to look more attractive, he visits the hotel's barber shop almost daily, where the barber persuades him to have his hair dyed and his face painted to look more youthful. The result is a fairly close approximation to the old man on
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Aschenbach considers warning Tadzio's mother of the danger; however, he decides not to, knowing that if he does, Tadzio will leave the hotel and be lost to him. But
Aschenbach is not rational; "nothing is as abhorrent to anyone who is beside himself as returning into himself.... The awareness that he
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A few days later, Aschenbach goes to the lobby in his hotel, feeling ill and weak, and discovers that the Polish family plans to leave after lunch. He goes to the beach to his usual deck chair. Tadzio is there, unsupervised for once, and accompanied by Jasiu, an older boy. A fight starts between the
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Aschenbach checks in to his hotel, where at dinner he sees an aristocratic Polish family at a nearby table. Among them is an adolescent boy of about 14 in a sailor suit. Aschenbach, startled, realizes that the boy is supremely beautiful, like a Greek sculpture. His elder sisters, by contrast, are so
215:
As the story opens, he is strolling outside a cemetery and sees a coarse-looking, red-haired foreigner who stares back at him belligerently. Aschenbach walks away, embarrassed but curiously stimulated. He has a vision of a primordial swamp-wilderness, fertile, exotic and full of lurking danger. Soon
241:
Soon the hot, humid weather begins to affect
Aschenbach's health, and he decides to leave early and move to a cooler location. On the morning of his planned departure, he sees Tadzio again, and a powerful feeling of regret sweeps over him. When he reaches the railway station and discovers his trunk
561:
However, serious doubts about this identification were raised in an article in "Der
Spiegel" in 2002, mainly because of the significant differences in age and physical appearance between the Tadzio figure of the novella and Moes. The same article offers another candidate in the form of Adam von
257:
Aschenbach at first ignores the danger because it somehow pleases him to think that the city's disease is akin to his own hidden, corrupting passion for the boy. During this period, a third red-haired and disreputable-looking man crosses
Aschenbach's path; this one belongs to a troupe of street
280:
imagery reveals to him the sexual nature of his feelings for Tadzio. Afterward, he begins staring at the boy so openly and following him so persistently that
Aschenbach feels the boy's guardians have finally noticed, and they take to warning Tadzio whenever he approaches too near the strange,
253:
Aschenbach next takes a trip into the city of Venice, where he sees a few discreetly worded notices from the Health
Department warning of an unspecified contagion and advising people to avoid eating shellfish. He smells an unfamiliar strong odor everywhere, later realising it is disinfectant.
520:
ll the details of the story, beginning with the man at the cemetery, are taken from actual experience . n the dining-room, on the very first day, we saw the Polish family, which looked exactly the way my husband described them: the girls were dressed rather stiffly and severely, and the very
281:
solitary man. 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.
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451:
contained themes similar to those found in Mann's novella, such as the author's fascination with and idealization of the purity of youthful innocence and beauty, as well as the eponymous protagonist's quest to restore healing and youthfulness to
Anfortas, the wounded, old
418:. Mahler had made a strong personal impression on Mann when they met in Munich, and Mann was shocked by the news of Mahler's death in Vienna. Mann gave Mahler's first name and facial appearance to Aschenbach but did not talk about it in public. The soundtrack of the 1971
288:
Freshly dyed and rouged, he again shadows Tadzio through Venice in the oppressive heat. He loses sight of the boy in the heart of the city; then, exhausted and thirsty, he buys and eats some over-ripe strawberries and rests in an abandoned square, contemplating the
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during a summer 1911 vacation in Venice were additional experiences occupying his thoughts. He used the story to illuminate certain convictions about the relationship between life and mind, with Aschenbach representing the intellect. Mann also was influenced by
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Over the next days and weeks, Aschenbach's interest in the beautiful boy develops into an obsession. He watches him constantly and secretly follows him around Venice. One evening, the boy directs a charming smile at him, looking, Aschenbach thinks, like
184:, published in 1912. It presents an ennobled writer who visits Venice and is liberated, uplifted, and then increasingly obsessed by the sight of a boy in a family of Polish tourists—Tadzio, a nickname for Tadeusz. Tadzio was likely based on a boy named
542:, the second son and fourth child of Baron Aleksander Juliusz Moes. He was aged 10 when he was in Venice, significantly younger than Tadzio in the novella. Baron Moes died on 17 December 1986 in Warsaw and is interred at the graveyard of
602:
it is criticized for its "puritanism", which saw Lowe-Porter "tone down Mann's treatment of sexuality, especially homoeroticism". The author considers the result "disastrous" and sees "a reworked, sanitized version of the text" by Mann.
395:. There are allusions to his poems about Venice in the novella, and like Aschenbach, he died of cholera on an Italian island. Aschenbach's first name is almost an anagram of August, and the character's last name may be derived from
535:, whose first name was usually shortened as Władzio or just Adzio. This story was uncovered by Andrzej Dołęgowski, Thomas Mann's translator, around 1964, and was published in the German press in 1965.
242:
has been misplaced, he pretends to be angry, but is really overjoyed; he decides to remain in Venice and wait for his lost luggage. He happily returns to the hotel and thinks no more of leaving.
476:, writing that, although the two never met, "Diaghilev knew Mann's story well. He gave copies of it to his intimates". Diaghilev often stayed at the same hotel as Aschenbach, the
353:
The novella is rife with allusions from antiquity forward, especially to Greek antiquity and to German works (literary, art-historical, musical, visual) from the 18th century.
219:
After a false start in traveling to Pula on the Austro-Hungarian coast (now in Croatia), Aschenbach realizes he was "meant" to go to Venice and takes a suite in the
261:
Next, Aschenbach rallies his self-respect and decides to discover the reason for the health notices posted in the city. After being repeatedly assured that the
753:
751:, about an Englishman's longing for a young boy in Venice, with tragic consequences, published in 1959 as one of a collection of eight short stories in
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in 1924 over three issues (vol. LXXVI, March to May, issues # 3–5, Camden, NJ, USA). This translation was published in book form the following year as
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384:, the god of excess and passion. The trope of placing classical deities in contemporary settings was popular at the time when Mann was writing
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Henzel-Dzieduszycki, a Polish-Austrian, who was also on vacation in the same hotel in the summer of 1911 and was 15 years old at the time.
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Mann's original intention was to write about "passion as confusion and degradation" after having been fascinated by the true story of
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However, the authorities adamantly deny that the contagion is serious, and tourists continue to wander obliviously round the city.
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1958:
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466:, it is possible that Mann was crediting Wagner's opera by referencing the author of the work that had inspired the composer.
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author in his early 50s who recently has been ennobled in honor of his artistic achievement (thus acquiring the aristocratic "
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smiling at his own reflection. Disconcerted, Aschenbach rushes outside, and in the empty garden whispers aloud "I love you!"
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family). However, the name has another clear significance: Aschenbach literally means "ash brook". It "suggests dead ashes (
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Letter to Carl Maria Weber dated July 4, 1920. In: Thomas Mann: Briefe I: 1889–1936, ed. Erika Mann. Fischer 1979. p. 176f.
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Later, after spying the boy and his family at a beach, Aschenbach overhears Tadzio, the boy's name, pronounced
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called it the definitive translation, but it is unclear to what other translations Auden was comparing it.
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is the only health risk, he finds a British travel agent who reluctantly admits that there is a serious
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in Polish by his mother, and conceives what he first interprets as an uplifting, artistic interest.
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The novella's physical description of Aschenbach was based on a photograph of the composer
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Lee, Seong Joo (2011). "The Reception of the Odyssey in Thomas Mann's Death in Venice".
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made use of Mahler's compositions, particularly the "Adagietto" 4th movement from the
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recalls that the idea for the story came during an actual vacation in Venice at the
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Met ‘Dood in Venetië’ heeft Luk De Bruyker doodgewoon zijn meesterwerk geschreven
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The Arrow and the Lyre: A Study of the Role of Love in the Works of Thomas Mann
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Aschenbach's name and character may be inspired by the homosexual German poet
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as a middle-aged writer who becomes obsessed with a young actor portrayed by
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The Real Tadzio: Thomas Mann's "Death in Venice" and the Boy who Inspired it
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460:, who famously adapted and transformed von Eschenbach's epic into his opera
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1347:(1994). "Thomas Mann's Iridescent Interweaving". In Koelb, Clayton (ed.).
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notes the similarities between Aschenbach and the Russian choreographer
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969:"Death in Venice: Translations — The Greatest Literature of All Time"
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Stavenhagen, Lee (1962). "The Name Tadzio in Der Tod in Venedig".
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208:" in his name). He is a man dedicated to his art, disciplined and
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The novella was dramatised by Peter Wolf for BBC Radio 3 in 1997.
32:
This article is about Thomas Mann's novella. For other uses, see
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Erläuterungen und Dokumente zu Thomas Mann: Der Tod in Venedig
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of beauty amid the ruins of his own once-formidable dignity.
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426:, and made Aschenbach into a composer instead of a writer.
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was complicit, that he too was guilty, intoxicated him...."
853:, New York: Liveright Publishing Corporation, 2023, p. 181.
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to the point of severity, who was widowed at a young age.
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whom Mann had observed during his 1911 visit to the city.
1001:& Warburg, Ltd., 1922. The first American edition of
621:(1988), Clayton Koelb (1994), Stanley Applebaum (1995),
196:
The main character is Gustav von Aschenbach, a famous
1149:
The Oxford Guide to Literature in English Translation
1290:
Deaths in Venice: The Cases of Gustav von Aschenbach
594:
authorized translation, published in 1922 in Mann's
516:
on the Lido, which they took in the summer of 1911:
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341:and his views on dreams, as well as by philosopher
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1494:"Oh Boy. Tadzio, Adzio, and the secret history of
1273:Especially the section "The Loves of Two Artists:
887:Letter to Wolfgang Born dated March 18, 1921. In:
600:Oxford Guide to Literature in English Translation
554:. Ironically, while in the novella Aschenbach is
1353:. W. W. Norton & Company. pp. 195–206.
1123:. Cambridge University Press. pp. 235–248.
531:The boy who inspired "Tadzio" was perhaps Baron
518:
871:Searls, Damion, Introduction to Mann, Thomas,
713:transformed the book into a stage play titled
1561:
1374:Death in Venice: Making and Unmaking a Master
380:, the god of restraint and shaping form, and
8:
891:, ed. Erika Mann. Fischer 1979. p. 185.
500:stayed and where he set action in the novel.
443:, whose reimagining and continuation of the
231:severely dressed that they look like nuns.
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68:
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949:(in German). No. 52. 2002. p. 152
849:Damion Searls translation in Mann, Thomas,
456:. Given Mann's obsession with the works of
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1350:Death in Venice: A Norton Critical Edition
285:the ship who had so appalled Aschenbach.
216:afterward, he resolves to take a holiday.
45:
38:
937:
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332:in Vienna and Mann's interest in the boy
276:One night, a dream filled with orgiastic
684:A stage production in 2013, directed by
429:Aschenbach's name may be an allusion to
345:, who had visited Venice several times.
1443:Kenneth Burke's English translation of
1292:. New York: Columbia University Press.
831:
612:Helen and Kurt Wolff Translator's Prize
558:, it was Moes who was really Silesian.
1121:The Cambridge Companion to Thomas Mann
1030:
883:
881:
546:. He was the subject of the biography
300:His body is discovered minutes later.
538:Moes was born on 17 November 1900 in
324:, which had led Goethe to write his "
7:
1620:Lotte in Weimar: The Beloved Returns
1498:" by Allen Barra. December 3–9, 2003
1158:10.1093/acref/9780198183594.001.0001
1018:
926:
625:(1998), Martin C. Doege (2010), and
617:Other translations include those by
574:was published in periodical form in
333:
185:
1253:. Dordrecht: Springer Netherlands.
606:A translation published in 2005 by
328:". The May 1911 death of composer
25:
1779:Reflections of a Nonpolitical Man
1247:Hirschbach, Frank Donald (1955).
694:Death in Venice/Kindertotenlieder
582:Death in Venice and Other Stories
320:'s love for 17-year-old Baroness
1909:German novels adapted into plays
1899:German novels adapted into films
1462:
1232:(in German). Stuttgart: Reclam.
889:Thomas Mann: Briefe I: 1889–1936
805:I Just Want to See the Boy Happy
769:and a pastiche/homage to Mann's
732:
677:adapted it for a ballet for his
34:Death in Venice (disambiguation)
1793:The Coming Victory of Democracy
1119:. In Robertson, Ritchie (ed.).
1078:"Hamburg Ballett John Neumeier"
788:, based on Gilbert Adair's book
526:Katia Mann, Unwritten Memories
127:1924 (periodical), 1925 (book)
1:
777:Love and Death on Long Island
761:Love and Death on Long Island
747:"Ganymede", a short story by
393:August von Platen-Hallermünde
814:Ringleader of the Tormentors
544:Pilica, Silesian Voivodeship
1954:German philosophical novels
1904:Novels adapted into ballets
1889:1912 German-language novels
1512:"Mann, Thomas (1875-1955):
1472:public domain audiobook at
1152:. Oxford University Press.
1146:France, Peter, ed. (2000).
943:"Tadzios schönes Geheimnis"
27:1912 novella by Thomas Mann
2005:
1914:Novels adapted into operas
1761:The Road to the Churchyard
1641:Confessions of Felix Krull
1538:In Our Time, BBC Radio 4,
1440:— German language version.
1325:Germanic Notes and Reviews
839:Image of the first edition
692:theatre in Berlin, titled
570:An English translation by
31:
1934:Novels about ephebophilia
1694:Disorder and Early Sorrow
1259:10.1007/978-94-017-4776-9
681:company in December 2003.
592:Helen Tracy Lowe-Porter's
420:film based on the novella
123:Published in English
44:
1003:Stories of Three Decades
994:Stories of Three Decades
791:"Grey Gardens", song on
717:in Ghent, Belgium, with
596:Stories of Three Decades
1979:S. Fischer Verlag books
1924:Novellas by Thomas Mann
1613:Joseph and His Brothers
1503:20 January 2021 at the
1281:", pp. 14 et seqq.
550:(Short Books, 2001) by
407:) clogging the stream (
1949:Novels with gay themes
1849:Elisabeth Mann Borgese
1786:On the German Republic
1740:Little Herr Friedemann
1701:Mario and the Magician
1129:10.1017/CCOL052165310X
1115:Buck, Timothy (2001).
529:
501:
431:Wolfram von Eschenbach
313:
202:
173:
69:
1861:Júlia da Silva Bruhns
1715:The Tables of the Law
1228:Bahr, Erhard (1991).
1082:www.hamburgballett.de
696:, took elements from
514:Grand Hôtel des Bains
494:Grand Hôtel des Bains
491:
478:Grand Hotel des Bains
311:
269:epidemic in Venice.
221:Grand Hôtel des Bains
18:Gustav von Aschenbach
1944:Novels set in Venice
1939:Novels about writers
1708:The Transposed Heads
1385:The German Quarterly
1377:. Twayne Publishers.
873:New Selected Stories
851:New Selected Stories
668:, his last, in 1973.
433:, the author of the
1989:Works about cholera
1974:German LGBTQ novels
1959:Roman à clef novels
1754:Tobias Mindernickel
1369:Reed, Terence James
1184:. New York: Knopf.
1021:, pp. 240–244.
623:Joachim Neugroschel
343:Friedrich Nietzsche
322:Ulrike von Levetzow
64:Original title
41:
1984:1900s LGBTQ novels
1969:1912 German novels
1894:1910s LGBTQ novels
1606:The Magic Mountain
1526:on 4 February 2015
1487:2016-03-06 at the
1432:Der Tod in Venedig
1181:Unwritten Memories
1058:on 4 December 2008
973:www.editoreric.com
765:, 1990 novella by
754:The Breaking Point
608:Michael Henry Heim
506:Unwritten Memories
502:
449:Chrétien de Troyes
435:Middle High German
314:
174:Der Tod in Venedig
70:Der Tod in Venedig
1876:
1875:
1687:A Man and His Dog
1481:Mahler in Venice?
1437:Project Gutenberg
1316:10.7312/kitc16264
1298:10.7312/kitc16264
1268:978-94-017-4586-4
1191:978-0-394-49403-6
1138:978-0-521-65370-1
1117:"Mann in English"
1005:was published by
929:, pp. 60–63.
780:(1997), starring
749:Daphne du Maurier
721:in the lead role.
703:Kindertotenlieder
686:Thomas Ostermeier
504:In her 1974
447:Quest romance of
437:medieval romance
376:contrast between
372:, and second the
180:by German author
161:
160:
114:Publication place
98:S. Fischer Verlag
16:(Redirected from
1996:
1929:Modernist novels
1800:Listen, Germany!
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1522:. Archived from
1510:Jones, James W.
1479:Michael Chanan,
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1088:on 25 June 2011.
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652:Luchino Visconti
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496:in Venice where
474:Sergei Diaghilev
312:First print 1912
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165:Death in Venice
156:Internet Archive
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1505:Wayback Machine
1496:Death in Venice
1489:Wayback Machine
1469:Death in Venice
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662:Death in Venice
644:Death in Venice
640:film adaptation
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548:The Real Tadzio
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1771:Other works
1659:Gladius Dei
1577:Thomas Mann
1345:Luke, David
1176:Mann, Katia
1062:30 November
1033:, pp.
1031:France 2000
947:Der Spiegel
875:, p. xviii.
719:Koen Crucke
633:Adaptations
586:W. H. Auden
498:Thomas Mann
492:The former
454:Fisher King
374:Nietzschean
182:Thomas Mann
58:Thomas Mann
1883:Categories
1851:(daughter)
1845:(daughter)
1831:Klaus Mann
1827:(daughter)
1825:Erika Mann
1819:Katia Mann
1530:30 January
1167:0198183593
997:, London:
913:Eksteins,
900:Eksteins,
821:References
690:Schaubühne
619:David Luke
1869:(brother)
1837:Golo Mann
1747:The Clown
1520:glbtq.com
1406:0016-8831
1337:0016-8882
1019:Buck 2001
927:Mann 1975
826:Citations
809:Morrissey
782:John Hurt
646:starring
363:Symposium
349:Allusions
278:Dionysian
248:Narcissus
94:Publisher
1863:(mother)
1651:Novellas
1501:Archived
1485:Archived
1474:LibriVox
1371:(1994).
1288:(2013).
1209:(2001).
1178:(1975).
1009:in 1936.
978:28 April
953:28 April
726:See also
709:In 2023
664:into an
654:in 1971.
629:(2023).
610:won the
577:The Dial
556:Silesian
524:—
463:Parsifal
440:Parzival
382:Dionysus
369:Phaedrus
198:Silesian
140:71208736
78:Language
1666:Tristan
1109:Sources
1101:(Dutch)
1035:333–334
763:(novel)
688:at the
540:Wierbka
401:Kishkin
397:Ansbach
334:Władzio
304:Origins
267:cholera
263:sirocco
223:on the
210:ascetic
186:Władzio
178:novella
176:) is a
117:Germany
89:Novella
1821:(wife)
1811:Family
1584:Novels
1457:Part 3
1455:, and
1453:Part 2
1449:Part 1
1414:402303
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904:, p. 2
807:", on
405:Aschen
378:Apollo
318:Goethe
236:Tadjoo
170:German
81:German
54:Author
1857:(son)
1839:(son)
1833:(son)
1410:JSTOR
1312:JSTOR
798:Poses
666:opera
510:Katia
445:Grail
86:Genre
1532:2015
1402:ISSN
1355:ISBN
1333:ISSN
1302:ISBN
1277:and
1263:ISBN
1234:ISBN
1215:ISBN
1186:ISBN
1162:ISBN
1133:ISBN
1064:2008
980:2024
955:2024
409:Bach
366:and
192:Plot
146:Text
134:OCLC
109:1912
1435:at
1394:doi
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642:of
204:von
154:at
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