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Doctor Faust de Thomas Mann
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Doctor Faust (1947)

de Thomas Mann

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A new translation of a 1948 novel based on the Faust legend. The protagonist is Adrian Leverkuhn, a musical genius who trades his body and soul to the devil in exchange for 24 years of triumph as the world's greatest composer.
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Títol:Doctor Faust
Autors:Thomas Mann
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Detalls de l'obra

El Doctor Faustus : la vida del compositor alemany Adrian Leverkühn contada per un amic de Thomas Mann (Author) (1947)

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Anglès (27)  Alemany (3)  Castellà (2)  Suec (2)  Neerlandès (2)  Francès (1)  Totes les llengües (37)
Es mostren 1-5 de 37 (següent | mostra-les totes)
Thomas Manns letzter großer Roman, der 1947 erstmals veröffentlicht wurde und nun vom gefeierten Übersetzer John E. Woods ins Englische übertragen wurde, ist eine moderne Neubearbeitung der Faust-Legende, in der Deutschland seine Seele an den Teufel verkauft. Manns Protagonist, der Komponist Adrian Leverkühn, ist die Blume der deutschen Kultur, eine brillante, isolierte, überragende Figur, seine radikale neue Musik ein halsbrecherisches Spiel der Kunst am Rande der Unmöglichkeit. Als Gegenleistung für vierundzwanzig Jahre beispielloser musikalischer Leistung feilscht er seine Seele weg - und die Fähigkeit, seine Mitmenschen zu lieben.

Leverkühns Lebensgeschichte ist eine brillante Allegorie auf den Aufstieg des Dritten Reiches, auf Deutschlands Verzicht auf die eigene Menschlichkeit und seine Umarmung von Ehrgeiz und Nihilismus. Sie ist auch Manns tiefste Meditation über das deutsche Genie - sowohl national als auch individuell - und die schreckliche Verantwortung des wahrhaft großen Künstlers.
  Fredo68 | May 14, 2020 |
This is a fantastic book. I don't know much German, so I won't be able to read the original, but this translation by John E. Woods is really quite good. As the blurb reads, this is a masterful modern retelling of the Faust Legend, wherein a composer sells his soul for awesomeness. We don't even get to that part until Chapter XXV or so, but it is quite compelling to read it even so.

The book is a fictional biography of a German Composer named Adrian Leverkühn written by a friend, whose name is Dr. Serenus Zeitblom. Initially, Zeitblom goes over Leverkühn's childhood and history. A precocious lad, Leverkühn was always able to grasp concepts and ideas that were beyond his years without even trying, but he did have a huge flaw I guess. Leverkühn was not particularly fond of company. He was a lonesome and solitary figure that did not get into human companionship. He was also obsessed with Magic Squares. You know, the things that add up to the same number no matter which direction you add them. The most famous one I can think of was by Albrecht Dürer. Don't worry, he is mentioned too.

Initially, Adrian Leverkühn wanted to be a Theological Scholar. Thus, he goes to school for it, and gains tons of acquaintances but no friends. However, this is merely his childish testing of the waters, so to speak. He really likes music, and thus decides to become a composer. He entered into practice far too late to be a virtuoso performer, but it isn't necessary to be able to play your own pieces I suppose.

The Faustian Pact scene is particularly gripping and chilling. Call him what you want; Old Scratch, Samiel, Mephistopheles, he accepts them all. So anyway, I did not mention this, but Leverkühn happened to have terrible migraines since childhood. Apparently this connects to that. He goes to two doctors for it, but Satan really wants that delicious soul, so he goes and ruins the doctors. One of them dies, and that other is taken away by the police or something. Leverkühn realizes early on who he is talking to, but is intrigued by the deal offered. Basically, for 24 years of totally genius works of composition, Leverkühn only has to give up his ability to love.

This is a rather curious idea, since it doesn't really change anything from his day to day system. Thomas Mann lays out all the cards you need to know for their ideas and actions earlier on in the book. For instance, earlier in the book, Zeitblom remembers a theology class in which a Cooper's Apprentice fell in love with a girl, but couldn't "get it up" with other ladies so to speak. So he thought she cast a spell on him, which seems really stupid. However, it turns out she was cursing him and was burned at the stake to save her soul from hell.

This thought process is pretty alien to me, but this is how I understand it; since Mephistopheles deals in time, you have to leave the contract by way of death. If you leave the deal out by killing yourself, you go to heaven since you were saved. Weird right?

So anyway, Leverkühn does not do that, but he makes an attempt on his own life at near the end of the book. It is unsuccessful though.

Meanwhile, all this stuff with Adrian Leverkühn is happening right as the events of the early twentieth century unfold. The first World War followed by the subsequent hyperinflation of the Mark and rise of the Third Reich is covered in here as well. It is quite fascinating, to see it from another point of view, since I am only familiar with the "Merica!" point of view.

In any case, I hope to read more from Thomas Mann soon, and maybe I'll even finish The Magic Mountain one of these days. ( )
  Floyd3345 | Jun 15, 2019 |
En roman som Doktor Faustus finns det två sätt att närma sig: antingen utrustad med stora mängder belästhet, väpnad med kunskaper i teologi och musikteori, allierad med en utgivare som försett boken med horder av kommentarer och förklaringar, eller rakt på, naivt okunnig om mer än det allra mest elementära vad gäller Faust-myten och Tysklands nittonhundratalshistoria. Båda sätt kan säkerligen vara givande, och även om jag snarast tillämpat det senare.

Visst, den som inte kan sin musikhistoria och sin kompositionsteknik kommer finna långa stycken väl tekniska och bortom sin riktiga fattningsförmåga; den som inte har teologisk förståelse kommer finna andra utgöras av svårligen begriplig teori, och den som inte har huvuddragen i tysk 1900-talshistoria lär förvirras av de analogier, förkroppsliganden och debatter som förs. Till sådana krav bör även läsning av Goethe, kunskap om i alla fall två av Shakespeares verk och en viss allmän humanistisk skolning läggas om man vill få ut så mycket som möjligt av denna redogörelse för Adrian Leverkühns liv.

Till utförandet är det en levnadsteckning av en vän, påbörjad ungefär vid tiden då Nazitysklands militära lycka vände, och sedan framskridande under krigets fortsatta förlopp, vilket då och då tillåts bryta sig in i huvudhandlingen, när Leverkühns barndomsvän och beundrare Serenus Zeitblom känner sig nödgad att mer än annars ställa sig i läsarens blickfång. Verket är i lika grad en redogörelse för denne humanists temperament: olikt Leverkühns övermodiga, tillbakadragna konstnärsnatur är Zeitblom en humanist, gymnasielärare, ängslig på ett sätt som skulle kunna kallas borgerligt småskuret om det inte visat sig så välgrundat.

Som tidigare antytts är det fråga om en variation på Faust-temat, även om detta mestadels klingar i bakgrunden, och endast vid ett par tillfällen får träda fram närmast ohöljt. Adrian Leverkühn påbörjar sin levnad i en tysk mindre stad, påbörjar universitetsstudier i teologi men avbryter dem för att ägna sig åt den musik han tidigare visat en enorm intellektuell-teoretisk, om inte tekniskt-praktisk, fallenhet för. Hans hänfallelse åt Hin Håle sker till slut för att komma undan en intellektets fälla: den när ens fantasi, ens förmåga att se förnyelse, inte på långa vägar motsvarar ens teoretiska kunnande och ambitioner.

Den musik som skapas är dock bara ett spår i boken: lika vikt ges åt diverse estetiska, politiska, teologiska spekulationer, åt människor runt Leverkühn och Zeitblom som det först sent står klart vad de har för vikt i biografin. Även om man själv inte riktigt kan pussla ihop hur, så framgår det att det inte bara är fråga om en diskussion om villkoren för konstnärligt skapande i en kunskapsmiljö som fått syn på sig själv, utan även en lång vidräkning med den tyska kulturen: en kultur som kan frambringa nazismen och tillåta att dem får löpa amok genom Europa har klara problem, och om till och med en figur som Zeitblom hyser delade känslor när han ser allt elände, måste den vara fundamentalt osund.

Jag vet inte om jag förstått mer av en liten den av Doktor Faustus, vare sig det gäller de mer teoretiska resonemangen som förs direkt i den eller i den större diskussion som förs genom den, men det jag tror mig ha förstått är tillräckligt för att se att den nu kanske lika väl som då den skrevs är en bok som inte enkelt kan läggas åt sidan. Någon gång skall jag nog förse mig med utrustning och färdhjälp, och åter försöka mig på den. ( )
  andejons | Nov 26, 2018 |
Sehr genial.
Weitschweifig, umständlich und ungeheuer faszinierend, wie schon der Zauberberg. Sicher nichts für Leser ohne Ausdauer.
Hochinteressante Philosophie, soziale Betrachtungen und in diesem Buch auch viel musikalischer Hintergrund. Wieder eine geradezu irrsinnige Rechercheleistung seitens des Autors.
Spitze! Klare Empfehlung. ( )
  zottel | Jun 26, 2018 |
This novel was written between 1943 and 1947 by Thomas Mann. The full title is Doctor Faustus: The Life of the German Composer Adrian Leverkuhn as Told by a Friend. The narrator/biographer is Serenus Zeitblom who becomes the best friend of Adrian as a boy, a relationship that continues throughout Adrian's life. Serenus, with asides commenting on his work, details the life and career of Adrian Leverkühn, a preternaturally gifted man who is born into the Germany of the Second Reich in the generation following the Franco-Prussian War (1870-1871). The novel follows Leverkühn’s life and career until his death in 1943. Leverkühn is born into a provincial middle-class farming family and has conventional parents, though his father harbors some eccentric scientific interests. Originally attracted to both mathematics and music, Leverkühn goes to college to study theology, a course of study that he eventually abandons in favor of music. Leverkühn’s musical ability is evident from the first and he becomes an accomplished composer.

The most significant aspect of the novel is the use of the Faust legend of a man who sells his soul to the Devil, best known in the dramatic versions by Christopher Marlowe and Goethe. This is portrayed through a dialogue between Leverkühn and the Devil, which occurs in chapter 25. Central to the Faust legend is the contract, the quid pro quo, between the Devil and Faust. The Faustian contract for Leverkühn involves his contracting syphilis from a prostitute. At the price of the loss of his physical and mental health, the syphilis unleashes untold powers of creativity within Leverkühn. One might question whether all artistic geniuses enter into a similar bargain if only metaphorically. Most importantly the Devil requires that Adrian give up the ability to love anyone. This intensifies a solitary life that was already present with Adrian.
The syphilis from which he suffers is, in turn, can also be seen a symbol of the “disease” of extreme nationalism and ethnic chauvinism that eventually led the Germans to embrace Adolf Hitler and the Nazis. In both cases—Leverkühn’s contraction of syphilis and the coming to power of Hitler—Mann makes it clear that the parties involved have entered into their “agreements” by their own volition, just as the original Faust entered into his demoniac pact of his own free will. Significantly, Leverkühn’s final composition of his creative career is a cantata titled “The Lamentations of Dr. Faustus.”

Disease was a theme that ran through all of Mann's great works of fiction. Examples include the fate of the author Gustave von Aschenbach in Death in Venice; while in The Magic Mountain, Mann uses physical disease as a symbol for spiritual and cultural decline. Another reference suggested by the presence of syphilis is to Friedrich Nietzsche who contracted the disease and whose life in many ways is mirrored by that of Adrian Leverkuhn. Mann also uses syphilis symbolically to suggest the inevitability of the decline of German civilization. Another connection to Nietzsche is the presence of the Apollonian/Dionysian dichotomy (Both the sons of Zeus, Nietzsche distinguished the two as opposites: Apollo the god of reason and order, and Dionysus the god of irrationality and chaos.) with Adrian's austerely hyper-rational music symbolizing the rejection of the Dionysian passion of Eros in which he cannot participate.

The narrative relayed by Zeitblom intersperses Adrian'slife events with historical events occurring simultaneously in German politics and society. Leverkühn’s lifetime roughly approximates that of Hitler, the suggesting that the same historical forces that brought the Nazis to the fore had a similar effect on Leverkühn’s art. Leverkühn’s final physical and mental collapse occurs in 1933, the year in which the Nazis came to power in Germany. Leverkühn dies in 1943, a year in which the war in Europe turned decidedly against the Axis Powers, leading to their eventual defeat.

The selection of a composer as the symbol of Germany’s moral and cultural decline is significant in that music is generally regarded as the most German of the arts. One composer, Richard Wagner, held a particular fascination for Mann. Mann had an ambivalent attitude toward Wagner; he greatly admired the composer’s music but was repelled by the man himself. It was Mann’s essay “The Sufferings and Greatness of Richard Wagner” that ultimately led to Mann’s public denunciation and eventual exile to America.

Adrian Leverkühn’s daemon, the catalyst whose function it is to see that the protagonist’s fate is fulfilled, appears in many guises, but perhaps never more significantly than in the being of Wendell Kretzschmar, the American expatriate music master and Leverkühn’s only real teacher of composition. Kretzschmar’s significance as a daemon extends not only to Leverkühn’s choice of a career as a composer—it is Kretzschmar who ultimately supplies Leverkühn with the justification to abandon theological studies and return to music—but also to the course that Leverkühn’s musical career will follow.

Leverkühn’s years of theological study at the University of Halle led him to be influenced by several other characters. Professor Kolonat Nonnenmacher instructs Leverkühn in Pythagorean philosophy and reinforces Leverkühn’s long-held fascination with an ordered cosmos, particularly one susceptible to mathematical reduction. Nonnenmacher’s lectures also deal with Aristotelian philosophy and stress the philosopher’s views on the inherent drive to the fulfillment of organic forms—in other words, the urge toward the unfolding of destiny. These lectures have a profound impact on Leverkühn, who comes to the realization that his personal destiny is not necessarily of his own making. Leverkühn finds a different and more subtle version in the form of Ehrenfried Kumpf, Mann’s caricature of Martin Luther. Kumpf’s theology rejects humanism and reason and embraces a rather lusty appreciation of life, including its sensual pleasures, of which music is but one facet. Although Kumpf is a minor figure in the novel, his influence is long-lasting on Leverkühn, who adopts the former’s archaic German phraseology and syntax and who eventually abandons the rationality and “coldness” of theology for the “warmth” of music. Of all Leverkühn’s professors at Halle, none leaves a more permanent impression on Leverkühn’s than Eberhard Schleppfuss, the mysterious theologian whose very difficult lectures combine the tenets of Christianity with a blatant Manichaeanism. Schleppfuss views evil as a necessary concomitant to good and posits a sinister interpretation of the nature of creativity.

Leverkühn’s involvement with music is made permanent, however, only after the liaison with a prostitute named Esmeralda, which, interestingly enough, occurs after Leverkühn has witnessed the Austrian premiere of Richard Strauss’s opera Salome (based on Oscar Wilde’s visionary Decadent drama). This liaison is a curious phenomenon in that neither lust nor intellectual curiosity appears to be its root cause. In many ways, Leverkühn is as irresistibly drawn to the prostitute Esmeralda as the symbolic butterfly hetaera esmeralda (chapter 2) is susceptible to visual or olfactory stimuli. There is a certain inevitability in both cases in which moral laws and the individual will are transcended by reflex actions firmly based in the instinctive domain. Additionally, Leverkühn’s brief sexual encounter permits the appearance in rapid succession of two other influences, namely Dr. Erasmi and Dr. Zimbalist, both of whom are thwarted from treating Leverkühn’s syphilis in its incipient stage.

Leverkühn’s fall is akin to the fall of Adam; both are terrible yet necessary for the evolution of the human condition. One can no more imagine a Christian view of history without Adam’s transgression than a continuation of musical evolution beyond Wagner without the imposition of a seminal figure such as Leverkühn. The connection between Leverkühn and Adam is further strengthened by the fact that one of Leverkühn’s first mature works is a setting of William Blake’s poem “A Poison Tree,” with its references to the poisoned fruit and the serpent who despoils an altar. In the end, however, as Mann always makes clear in his writings, untempered creativity ultimately consumes its creator. All knowledge, all fruits of artistic genius carry with them a terrible price in the imaginary world of Mann’s fiction. ( )
1 vota jwhenderson | Apr 30, 2018 |
Es mostren 1-5 de 37 (següent | mostra-les totes)
The career of Thomas Mann's modern Faust is intended to illustrate the political, artistic, and religious dilemmas of the author's time. Yet paradoxically, the story of a former divinity student who bargains his soul and body to become a "musician of genius" is set in the wrong historical era. And the book's major flaw as fiction— counting as minor blemishes the discursiveness, and the imbalance between theory in the first half, story development and human variety in the second—may be attributed to conflicts between Mann's symbolic and realistic intentions.

To compare Dr. Faustus and the realistic novels of, for example, Solzhenitsyn, is to recognize how much more limited in scope is the newer genre. In the sense of embracing the spectrum of humanistic, religious, and artistic themes, Dr. Faustus may be the last of its kind.
afegit per SnootyBaronet | editaNew York Review of Books, Robert Craft
 

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Nom de l'autorCàrrecTipus d'autorObra?Estat
Mann, ThomasAutorautor primaritotes les edicionsconfirmat
Ekman, KerstinPròlegautor secundarialgunes edicionsconfirmat
Fontcuberta i Gel, JoanTraductorautor secundarialgunes edicionsconfirmat
Kallio, SinikkaTraductorautor secundarialgunes edicionsconfirmat
Kross, HelgaTraductorautor secundarialgunes edicionsconfirmat
Kurecka, MariaTraductorautor secundarialgunes edicionsconfirmat
Lowe-Porter, H. T.Traductorautor secundarialgunes edicionsconfirmat
Palmen, ConnieEpílegautor secundarialgunes edicionsconfirmat
Pocar, ErvinoTraductorautor secundarialgunes edicionsconfirmat
Sato, KoichiTraductorautor secundarialgunes edicionsconfirmat
Seki, KusoTraductorautor secundarialgunes edicionsconfirmat
Servicen, LouiseTraductorautor secundarialgunes edicionsconfirmat
Wallenström, UlrikaTraductorautor secundarialgunes edicionsconfirmat
Wessel, ElsbethTraductorautor secundarialgunes edicionsconfirmat
Westphal, GertSprecherautor secundarialgunes edicionsconfirmat
Апт, С.Traductorautor secundarialgunes edicionsconfirmat
Ман, Н.Traductorautor secundarialgunes edicionsconfirmat
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I wish to state quite definitely that it is by no means out of any wish to bring my own personality into the foreground that I preface with a few words about myself and my own affairs this report on the life of the departed Adrian Leverkuhn.
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… talora in una materia semplice come il tema dell'Arietta, svolto in quelle formidabili variazioni che formano il secondo tempo della sonata. E come il tema di qusto tempo, attraverso cento destini, cento mondi di contrasti ritmici, finisce col perdersi in altitudini vertiginose che si potrebbero chiamare trascendenti o astratte – così l'arte di Beethoven aveva superato sé stessa: dalle regioni tradizionali e abitabili si era sollevata, davanti agli occhi sbigottiti degli uomini, nelle sfere della pura personalità – a un io dolorosamente isolato nell'assoluto, escluso anche, causa la sordità, dal mondo sensibile: sovrano solitario d'un regno spirituale dal quale erano partiti brividi rimasti oscuri persino ai più devoti del suo tempo, e nei cui terrificanti messaggi i contemporanei avevano saputo raccapezzarsi solo per istanti, solo per eccezione.
Dopo un do iniziale accoglie, prima del re, un do diesis, … e questo do diesis aggiunto è l'atto più commovente, più malinconico e conciliante che si possa dare. È come una carezza dolorosamente amorosa sui capelli, su una guancia, un ultimo sguardo negli occhi, quieto e profondo. È la benedizione dell'oggetto, è la frase terribilmente inseguita e umanizzata in modo che travolge e scende nel cuore di chi ascolta come un addio, un addio per sempre, così dolce che gli occhi si empiono di lacrime. … Dopo di che Kretzschmar non ritornò dal pianino alla cattedra. Volto verso di noi, rimase seduto sullo sgabello girevole, nello stesso nostro atteggiamento, chino in avanti, le mani fra le ginocchia, e conchiuse con poche parole la conferenza sul quesito: perché Beethoven non abbia aggiunto un terzo tempo all'op. 111. Dopo aver udito, disse, tutta la sonata potevamo rispondere da soli a questa domanda. – Un terzo tempo? Una nuova ripresa… dopo questo addio? Un ritorno… dopo questo commiato? – Impossibile. Tutto era fatto: nel secondo tempo, in questo tempo enorme la sonata aveva raggiunto la fine, la fine senza ritorno. E se diceva «la sonata» non alludeva soltanto a questa, alla sonata in do minore, ma intendeva la sonata in genere come forma artistica tradizionale: qui terminava la sonata, qui essa aveva compiuto la sua missione, toccato la meta oltre la quale non era possibile andare, qui annullava sé stessa e prendeva commiato – quel cenno d'addio del motivo re-sol sol, confortato melodicamente dal do diesis, era un addio anche in questo senso, un addio grande come l'intera composizione, il commiato dalla Sonata.
Il pianoforte, chi ben guardi, è il diretto e sovrano rappresentante della musica, persino nella sua spiritualità, e per questo lo si deve imparare.
Con la intelligenza si può fare molta strada nella Chiesa, ma non nella religiosità.
– … L'organizzazione è tutto. Senza di essa nulla esiste, e men che meno l'arte. Ed ecco che la soggettività estetica si prese questo compito e si assunse di organizzare l'opera, per proprio impulso, in libertà. – Tu pensi a Beethoven. – Sì, a lui e al principio tecnico col quale la soggettività dominante s'impadronì dell'organizzazione musicale, cioè dello svolgimento. Questo era stato una piccola parte della sonata, un modesto campo di illuminazione e di dinamismo soggettivi. Con Beethoven essa diventa universale, diventa il centro della forma totale che, anche quando è premessa come convenzione, viene assorbita dal lato soggettivo e ricreata in libertà. La variazione dunque, una cosa arcaica, un residuo, diventa il mezzo della spontanea nuova creazione della forma.
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Wikipedia en anglès (1)

A new translation of a 1948 novel based on the Faust legend. The protagonist is Adrian Leverkuhn, a musical genius who trades his body and soul to the devil in exchange for 24 years of triumph as the world's greatest composer.

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