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artist, role of,
64,
67,
68,
69,
70–71,
72,
82,
94,
95,
96,
99,
101,
102,
107,
121,
122,
187.
See also Erzieher;
KünstlerAschenbach, Gustav von,
2,
3,
7,
55; childhood of,
84,
127,
135,
208n120; daily routine of,
37,
83,
104,
134; death of,
29,
30,
60,
97,
106,
110,
112,
125–29,
133,
171–76,
225n144,
243n105,
243n109; dedication to beauty,
28,
70–71,
73,
76,
79,
83,
99,
101,
104,
110,
122,
152,
176,
218n29,
225n144; ill-health of,
38,
127,
130,
133,
135,
136,
152,
172; marriage of,
87,
135; moral degeneration of,
26,
38–46,
58–59,
72,
99,
101,
113,
114,
122; represented as composer,
28,
130–31,
133–34,
135,
136,
152,
172,
175; respectability of,
7,
61,
63,
64,
65,
67,
68,
107,
111,
114,
197n32; sexual orientation of,
62,
63,
64,
65,
73,
83,
84,
89,
92,
93,
94,
104,
105,
106,
114,
135,
196n21,
220n44; social isolation of,
37,
83,
113,
188; Socratic reflections of,
29,
38,
72,
73,
83,
95,
99,
101,
102,
105,
112,
130,
136,
153,
225n144,
243n108; status as writer,
26–30,
57,
59,
60,
68,
107,
111,
114,
122,
123,
129,
176,
188,
189,
206n108; as victim,
62; works of,
41,
74,
134,
140,
146,
176,
188,
193n2,
206n108,
220n44
Bauer-Lechner, Natalie,
236n49beauty,
28,
32,
63,
64,
68,
69,
76,
79,
80,
82,
83,
93,
94,
96,
99,
104,
107,
109,
110,
111,
112,
152,
172,
218n28,
218n29; lure of,
96–99,
101,
102,
107,
113,
114,
122,
136,
225n144,
243n105.
See also “higher” beautyBeethoven, Ludwig van,
62;
Für Elise,
132,
150Bethge, Hans,
138,
153,
155,
160,
162,
163,
167,
240n79,
241n87,
241–2n92,
242n93,
242n94,
242n95Britten, Benjamin,
10,
120,
122,
163,
169,
190,
191,
225n145;
Albert Herring,
227n156;
Billy Budd,
107–12,
113,
227n163,
228n164,
228n169;
Death in Venice,
102–7,
109–12,
114,
126,
129,
130,
179,
190,
212n162,
214n185,
226n147,
226n148,
227n147,
227n163,
228n167,
228n168,
233n6,
233n15;
Hymn to the Virgin,
228n169;
Les Illuminations,
228n165;
Peter Grimes,
107;
Serenade for Tenor, Horn, and Strings,
103,
226n151;
War Requiem,
104,
228n169Buddenbrook, Bethsy (Frau Konsulin),
54–55,
56,
58Buddenbrook, Christian,
5,
55,
107Buddenbrook, Thomas,
5,
6,
8,
18,
34,
174,
196n23,
198n38,
198n41,
225n132Bürger (citizen), Mann’s conception of,
5,
6,
7,
24,
30,
43,
50,
61,
64,
68,
85,
94,
95,
102,
107,
113,
195n20,
196n21,
216n11
cholera,
2,
30,
38,
76,
110,
113; as cause of Aschenbach’s death,
126–29,
133,
224n127,
233n6,
233n7,
233n13,
233n15coda to
Death in Venice,
29–30,
59,
106,
112,
125,
126,
153,
172–75,
186,
208n117,
243n105
death, premonitions of,
125,
126,
133–34,
135,
136,
138,
139–40,
146; quality of,
53–54,
112,
123,
126Detering, Heinrich,
193n1Dichter,
2,
3,
4,
6,
10,
19,
67,
86,
194n5,
195n18
Dickens, Charles,
11,
17,
190;
Bleak House,
17,
181,
183,
184,
245n125;
Hard Times,
11,
17discipline,
37,
52,
53,
58,
60,
64,
69,
87,
94,
95,
96,
99,
102,
104,
115,
121,
122,
136; breakdown of,
38–46,
83,
97
Erzieher (educator),
66,
67,
69,
70–71,
72,
85,
94,
96,
99,
100,
121,
172,
187,
217n19.
See also education
foundationalism, epistemological,
16–17
Goethe, Johann Wolfgang,
13,
38,
65,
67,
84,
194n5,
197n33,
209n135,
211n151,
211n158,
217n26; as character in
Lotte in Weimar,
84,
85,
90,
92,
121,
197n33,
217n26,
222n87
heart failure, as cause of Aschenbach’s death,
129,
133“higher” beauty,
68,
69,
70,
71,
82,
100; erotic responses to,
71,
72,
82,
85,
96,
101,
218n28,
225n144; young men as embodiment of,
71,
72,
100,
107,
109,
218n30homosexuality,
39,
62,
63,
64,
65,
67–68,
71,
73,
74,
75–82,
83,
87–91,
102–3,
104,
115,
118,
120,
135,
136,
216n11,
219n36; incomplete sexual expression,
80–82,
83,
84,
89–91,
92,
93,
94,
95,
96; vision and,
80,
83,
89,
93,
95,
96,
101,
223n106
Iwanowna, Lisaweta,
6,
7,
64
Joyce, James,
13,
21,
24,
25,
194n5;
Dubliners,
22,
36,
189;
Finnegans Wake,
13,
22,
23,
122,
189,
202n68,
204n85,
225n140;
Portrait of the Artist as a Young Man,
21,
22,
189;
Ulysses,
13,
21,
22,
23,
189,
196n23,
202n68,
203n78,
204n80,
225n138; anti-elitism,
22–23,
189
Kant, Immanuel,
18,
33,
34,
47,
48,
66,
68,
171,
208n129,
209n131,
209n135,
229n172Kröger, Tonio,
6,
7,
24,
30,
50,
52,
62,
63,
64,
100,
102,
107,
187Künstler (artist), Mann’s conception of,
5,
6,
7,
24,
30,
62,
64,
68,
85,
187,
196n21,
216n11
Leverkühn, Adrian,
54,
55–56,
103,
104,
132,
140,
177,
178,
187,
215n202,
215n203,
215n204,
234n21,
235n25,
235n26,
235n27
Mahler, Alma (née Schindler),
130,
137,
138,
139,
147,
152,
187,
236n42,
239n77,
240n79Mahler, Anna (“Gucki”),
130,
139Mahler, Gustav,
13,
130,
131,
132,
136,
140,
171,
185,
188,
189,
190,
191,
236n38,
236n39,
241n86; Adagietto (Fifth Symphony),
132,
147–50,
152,
238n68 239n72,
239n71,
239n75,
239n77;
Das Lied von der Erde,
138–39,
153–71,
172,
173,
174,
175,
178,
179,
182,
183,
186,
187,
236n43,
240n79,
240n83,
240n84,
240n85,
241n86,
241n87,
241n89,
242n93,
242n94,
242n95,
242n96,
243n105;
Kindertotenlieder,
130–31,
144–45,
148–51,
182,
238n63,
238n64,
Rückertlieder,
148–50,
239n72; Symphony No. 2 (“Resurrection”),
141–43,
170,
183,
236n49,
237n57; Symphony No. 3,
132,
133,
143,
240n85; Symphony No. 4,
146,
238n67; Symphony No. 5,
146,
147,
153,
239n75,
239n78; Symphony No. 6,
237n54,
238n68; Symphony No. 7,
242n102; Symphony No. 8,
134,
143; Symphony No. 9,
139,
187,
246n134; Symphony No. 10,
139,
187,
246n134; death of,
134,
138,
139,
236n41; ill-health of,
137,
138,
152,
153,
234n19,
236n42,
240n79; Jewish ancestry of,
135,
143,
237n59,
237n60;
239n72; marriage of,
135,
139,
236n45,
239n77,
246n134; symphonic programs,
140–42,
237n50,
237n51;
Mann, Erika,
103,
114,
117,
118,
119,
120,
122–23,
226n150,
230n191,
231n199,
231n202Mann, Heinrich,
2,
115,
125,
126,
134,
153,
195n16,
224n123,
229n176Mann, Katia (“Katja,” née Pringsheim),
1,
2,
37,
86,
87,
88,
90,
91,
92,
114,
115,
116,
117,
118,
119,
121,
122,
134,
187,
211n149,
213n164,
219n40,
220n55,
222n89,
222n100,
223n102,
223n115,
223–4n116,
229n174,
229n176,
230n177,
230n191,
231n202Mann, Klaus,
88,
90,
91,
114,
117,
118,
119,
120,
122,
223n113,
230n190Mann, Thomas:
Buddenbrooks,
1,
2,
4,
5,
6,
194n6,
195n16,
196n23,
198n38;
Confessions of an Unpolitical Man,
7,
207n114;
Death in Venice,
2,
3,
4,
5,
7,
9,
10,
15,
17,
19,
26,
63,
114,
122,
125,
134,
195n16;
Das Gesetz,
204n89;
Der Erwählte,
204n89,
232n2;
Der kleine Herr Friedemann,
56–57,
63–64,
96–97,
98,
210n146,
224n126;
Der Wille zum Glück,
5;
Doctor Faustus,
9,
40,
54,
55–56,
103–4,
114,
117,
132,
140,
177,
194n6,
199n43,
210n145,
213n169,
215n202,
215n203,
215n204,
226n154,
229n173,
230n177,
232n204,
234n21,
235n25,
235n26,
235n27,
236n46,
244n119;
Felix Krull,
2,
193n3,
196n27,
196n30,
243n113,
245n133;
Fiorenza,
1;
Gesang vom Kindchen,
194n5;
Joseph and His Brothers,
92,
97–98,
100–101,
113,
114,
194n6,
204n89,
206n103,
223–4n116,
225n130,
225n137,
229n170,
243n113;
Lotte in Weimar,
84,
85,
90,
92,
116,
121,
197n33,
213n169,
217n26,
222n85,
229n173;
Magic Mountain,
9,
58,
114,
117,
194n6,
210n145,
232n2;
Royal Highness,
1,
3,
4,
67,
86–87,
115,
193n1,
194n6,
195n16,
204n93,
220n55 232n213;
Schwere Stunde,
5,
197n33;
Tonio Kröger,
1,
2,
5,
6,
63–64,
65,
100,
187,
195n16,
196n27,
196n30;
Wälsungenblut,
203n76; annotations of philosophical texts,
29,
33,
47; as philosopher,
10,
11,
13,
15,
17,
19,
24,
47–48,
51,
52,
60,
179–91,
202n67,
210n140,
214n186,
246n141; daily routine of,
37,
40,
41,
213n168; diaries of,
40,
59,
63,
73,
84,
87,
88,
90,
92,
115,
118,
119,
194n5,
197n35,
212n164,
219n40,
222n96,
222n100,
226n154,
229n174; marriage of,
1,
87–88,
114,
115,
211n149,
213n164,
220n55,
222n89,
222n100,
223n102,
223n115,
223–4n116,
224n123,
229n174,
230n179; medical knowledge,
128–29,
233n11; pessimism and,
37,
115,
122; philosophical allusions in
Death in Venice,
7,
11,
18,
19,
26,
29,
30,
31,
32,
35–36,
37,
47,
48,
51,
60,
66,
67,
71,
73,
74,
103,
130,
171,
207n114,
207n115,
214n183,
216n11; presentations of death,
54–59; projected works,
2,
3,
4,
41,
211n158,
217n26,
220n44; reactions to Mahler,
134,
139,
158,
241n89; relations to his children,
116–21,
123,
194n5,
230n191,
231n197,
231–2n204; sexual orientation of,
63,
67,
73,
84,
87–93,
94,
115,
116,
219n41,
219n42,
219–20n43,
220n44,
222n96,
222n100,
223n102,
223n103,
223n106,
223n109; style, development of,
1,
7,
129,
194n6; visit to Venice,
1,
2,
3,
125,
134,
139.
See also Aschenbach, Gustav von;
coda to Death in Venice;
discipline;
“higher” beauty;
“Greek idyll”;
Kröger, Tonio;
“obituary” chapter;
TadzioMitchell, Donald,
233n16,
234n24,
236n38,
236n48,
237n51,
237n55,
237n56,
237n57,
238n63,
238n64,
238n65,
238n69,
239n70,
239n71,
239n72,
239n75,
239n78
narrative voices,
27,
100,
205–6n103; in
Death in Venice,
27,
39,
52,
56,
59,
60,
62,
65,
102,
206n103,
215n205Nietzsche, Friedrich,
3,
4,
5,
7,
8,
9,
10,
13,
18,
19,
24,
25,
29,
30,
31,
35,
56,
62,
74,
132,
156,
167,
171,
177,
189,
194n5,
197n35,
199n43,
208n128,
208n129,
211n150,
235n27,
242n99,
246n139,
246n141; ascetic ideal,
47,
50,
51,
60,
215n197;
Birth of Tragedy,
26–29,
64,
114,
122,
198n42,
199n43,
199n45,
206n104,
206n107,
206n108,
206n109,
207n110,
207n111,
207n112,
210n141,
240n85;
Genealogy of Morality,
36,
37,
121,
199n44,
215n197;
Schopenhauer as Educator,
66,
67,
82,
210n140,
217n19,
217n26,
224n117; on the worth of human lives,
18,
19,
21,
25,
32,
36–37,
52,
60,
185
philosophy: and argument,
12,
13–14,
15–16,
23–24,
190–91; character of,
12,
13,
14,
25,
36–37,
149,
245n127; oldest qestion of,
17,
18,
19,
22,
23,
30,
35,
47,
64,
114,
141,
146,
170,
177,
179,
185–89,
190–91,
242n99.
See also saying and showingPlaten, August von,
75–82,
83,
87,
90,
220n53,
220n55,
221n73,
223n111; Mann’s reaction to,
75–76,
80,
82,
92,
194n5,
221n68,
227n157Plato,
15,
25,
30,
31–33,
50,
51,
64,
65,
69,
70,
92,
100,
112,
189,
208n129,
211n147,
216n11,
217n12,
242n101;
Meno,
70;
Phaedrus,
32,
45,
70,
71,
76,
80,
94,
197n34,
214n183,
218n28;
Republic,
31–32,
66,
208n124;
Symposium,
63,
70,
72,
76,
94 197n34
Reed, T. J.,
198n42,
199nn48–49,
205nn97–99,
205n102,
211n147,
211n151,
212n161,
212n163,
213n170,
216n11,
226n148,
233n7Rousseau, Jean-Jacques,
217n12
Schopenhauer, Arthur,
6,
7,
8,
9,
10,
13,
18,
19,
21,
24,
25,
28,
30,
31,
32–36,
47,
48,
50,
60,
66,
67,
72,
74,
78,
136,
156,
167,
171,
174,
176,
177,
185,
189,
197n35,
198n38,
198n39,
198n41,
208n128,
208n129,
209n131,
209n134,
209n135,
211n150,
236n37,
238n67,
242n99,
243n110; reality as Will,
33,
34,
35,
47,
48,
49,
50,
51,
52,
96,
112,
140,
209n130,
214n186,
214n187; theory of art,
34,
35,
206n107,
209n135.
See also pessimismsexual urge,
35; as burden,
35,
78,
102,
210n146,
225n138; as manifestation of Will,
35,
49,
50,
72,
78,
96,
102Shakespeare, William,
13,
194n5;
King Lear,
20Socrates,
7,
14,
15,
31,
32,
45,
51,
69,
70,
71,
72,
80,
94,
99
Tadzio,
2,
26,
29,
38,
42,
43–46,
49,
57,
59,
63,
68,
69,
70,
72,
74,
83,
85,
93,
94,
95,
97,
98,
104,
105,
106,
110,
112,
122,
127,
130,
132,
150,
152,
172,
173,
174,
175,
176,
216n215,
218n30
Visconti, Luchino,
10,
28,
103,
110,
129,
130–33,
135,
136,
138,
147,
150,
171,
177,
189,
233n16,
234n17,
234n18,
234n21,
235n25,
236n46,
236n47,
238n69,
238n70.
See also Morte a Venezia
Wagner, Richard,
8–9,
19,
23,
31,
36,
171;
Lohengrin,
96,
224n126;
Ring of the Niebelung,
13,
19–21,
203n76,
226n154,
246n140;
Tristan und Isolde,
9,
19,
150,
152,
202n70,
203n76,
221n68; Nietzsche and,
9,
10,
203n75; Schopenhauer and,
10,
19–20,
34,
202n70,
203n72,
209n131
Ziemssen, Joachim,
58,
59