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Ever since its appearance in 1947, Thomas Mann's novel Doctor Faustus has generated heated reactions among critics. Whereas initial ideological differences stemming from the Cold War and the division of Germany have abated following the reunification of 1990, diverse opinions and controversies persist about Mann's daring treatment of the Faust theme. These include such topics as the political stance of the author and the historical dimensions of the novel; the biographical and autobiographical and backgrounds of the workespecially in light of the subsequent publication of Mann's diaries and private notebooks; the writer's sexual and psychological proclivities; the thorny issues of montage, collage, and intertextuality; musical concerns such as the extent to which the novel's protagonist appropriates as his own Arnold Schonberg's twelve-tone system of composition or the role of Mann's fellow exile and mentor, Theodor W. Adorno, in indoctrinating his "pupil" into avant-garde musical techniques; the degree to which the novel exhibits structural features of the music on which the narrative focuses; and the function of certain mythic prototypes for this modern parody in fashioning the fortunes and fate of Adrian Leverkuhn. A provocative and still unresolved question centers on the precise role played by Goethe's Faust in the conception and execution of Doctor Faustus, in spite of Mann's assertion that his version of the legend had "nothing in common" with the work of his famous predecessor. Finally, the presence of strong visual elements in the novel leads to an assessment of the critical reception accorded Franz Seitz's film adaptation of Doctor Faustus (1982), a dicey subject in Manncircles, since few filmed versions of his novellas or novels have enjoyed an unsullied reputation.
"John E. Woods is revising our impression of Thomas Mann, masterpiece by masterpiece." --The New Yorker "Doctor Faustus is Mann's deepest artistic gesture. . . . Finely translated by John E. Woods." --The New Republic Thomas Mann's last great novel, first published in 1947 and now newly rendered into English by acclaimed translator John E. Woods, is a modern reworking of the Faust legend, in which Germany sells its soul to the Devil. Mann's protagonist, the composer Adrian Leverkühn, is the flower of German culture, a brilliant, isolated, overreaching figure, his radical new music a breakneck game played by art at the very edge of impossibility. In return for twenty-four years of unparalleled musical accomplishment, he bargains away his soul--and the ability to love his fellow man. Leverkühn's life story is a brilliant allegory of the rise of the Third Reich, of Germany's renunciation of its own humanity and its embrace of ambition and nihilism. It is also Mann's most profound meditation on the German genius--both national and individual--and the terrible responsibilities of the truly great artist.
A portrayal of genius possessed, through the biography of the composer Adrian Leverkuhn, narrated by his friend Zeitblom in the years 1943-45, as Germany faces ruin.
Thomas Mann wrote his last great novel, Doctor Faustus, during his exile from Nazi Germany. Although he already had a long string of masterpieces to his name, in retrospect this seems to be the novel he was born to write. A modern reworking of the Faust legend in which a twentieth-century composer sells his soul to the devil for the artistic power he craves, the story brilliantly interweaves music, philosophy, theology, and politics. Adrian Leverkühn is a talented young composer who is willing to go to any lengths to reach greater heights of achievement. What he gets is twenty-four years of genius—years of increasingly extraordinary musical innovation intertwined with progressive and destructive madness. A scathing allegory of Germany’s renunciation of its own humanity and its embrace of ambition and nihilism, Doctor Faustus is also a profound meditation on artistic genius. Obsessively exploring the evil into which his country had fallen, Mann succeeds as only he could have in charting the dimensions of that evil; his novel has both the pertinence of history and the universality of myth. Translated from the German by H. T. Lowe-Porter