ManuScript Details
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Paper Id:
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IJCIRAS1039
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Title:
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VENICE: OBJECTIVE CORRELATIVE OF ASCHANBACH’S REPRESSED SELF IN THOMAS MANN’S DEATH IN VENICE
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| Published in: |
International Journal Of Creative and Innovative Research In All Studies |
| Publisher: |
IJCIRAS |
| ISSN: |
2581-5334 |
| Volume / Issue: |
Volume 1 Issue 4 |
| Pages: |
5
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| Published On: |
9/23/2018 2:35:12 AM (MM/dd/yyyy) |
| PDF Url: |
http://www.ijciras.com/PublishedPaper/IJCIRAS1039.pdf |
Main Author Details
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Name:
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SAMPUJA GANGULY |
| Institute: |
Self |
Co - Author Details
| Author Name |
Author Institute |
Abstract
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Research Area:
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English language |
| KeyWord: |
Venice, Repressed, Objective correlative, Death in Venice, Aschenbach, Tadzio. |
| Abstract: |
Published in 1913, Death in Venice marks the end of the earliest phase of Mann’s career and the beginning of a transitional phase in which the author wrote only nonfiction works for several years. Death in Venice is considered among the finest novellas in world literature. The work skilfully combines the psychological realism and mythological symbolism to create a multi-dimensional story that explores the moral transformation undergone by the artist in quest of perfect beauty. This classic situation is depicted in the decline and ultimate collapse of Mann’s artist-hero Gustav von Aschenbach, a renowned German author who, after years of living a morally and artistically ascetic life, surrenders to the sensual side of his nature during a sojourn in Venice. There the sultry Venetian setting incites Aschenbach’s homoerotic passion for Tadzio, a beautiful god-like youth. As Aschenbach succumbs to long-repressed spiritual and physical desires, he loses control of his will, and his resulting degradation leads to his death.
Aschenbach’s craving for release is first expressed in a vision of the East, the tropical marshland, the jungle. Unwilling however to undertake so long and difficult a journey, he happily recognizes the natural goal he should choose. When one wanted to arrive over night at the incomparable, the fabulous, the like nothing else in the world, where was it one went? Venice is the outpost of the East, half Byzantium, half Bruges, flower of the Italian Renaissance and yet in contact with Asia; it is a city of mystical longing and romantic expansiveness – the natural complement to Florence, which is purely rational and western. A strange combination of sea and land, built on tepid, miasmic swamps, it is another symbol of the conflicting passions in Aschenbach’s own soul. Therefore this paper attempts to project, in Mann’s novella, Venice, being the “objective correlative” of Aschenbach’s repressed, becomes a place which gives Aschenbach glimpses of extreme beauty that the artist’s mind was craving for, and exacts a heavy price for that glimpse.
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Citations
Copy and paste a formatted citation or use one of the links to import into a bibliography manager and reference.
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IEEE
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SAMPUJA GANGULY, "VENICE: OBJECTIVE CORRELATIVE OF ASCHANBACH’S REPRESSED SELF IN THOMAS MANN’S DEATH IN VENICE", International Journal Of Creative and Innovative Research In All Studies,
vol. 1, no. 4, pp. 1-5, 2018.
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MLA
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SAMPUJA GANGULY "VENICE: OBJECTIVE CORRELATIVE OF ASCHANBACH’S REPRESSED SELF IN THOMAS MANN’S DEATH IN VENICE." International Journal Of Creative and Innovative Research In All Studies,
vol 1, no. 4, 2018, pp. 1-5.
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APA
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SAMPUJA GANGULY (2018). VENICE: OBJECTIVE CORRELATIVE OF ASCHANBACH’S REPRESSED SELF IN THOMAS MANN’S DEATH IN VENICE. International Journal Of Creative and Innovative Research In All Studies,
1(4), 1-5.
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VENICE: OBJECTIVE CORRELATIVE OF ASCHANBACH’S REPRESSED SELF IN THOMAS MANN’S DEATH IN VENICE
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