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Published in 1913, Thomas Mann's Death in Venice is one of the most widely read novellas in any language. In the 1970s, Benjamin Britten adapted it into an opera, and Luchino Visconti turned it into a successful film. Reading these works from a philosophical perspective, Philip Kitcher connects the predicament of the novella's central character to Western thought's most compelling questions.
In Mann's story, the author Gustav von Aschenbach becomes captivated by an adolescent boy, first seen on the lido in Venice, the eventual site of Aschenbach's own death. Mann works through central concerns about how to live, explored with equal intensity by his German predecessors, Schopenhauer and Nietzsche. Kitcher considers how Mann's, Britten's, and Visconti's treatments illuminate the tension between social and ethical values and an artist's sensitivity to beauty. Each work asks whether a life devoted to self-sacrifice in the pursuit of lasting achievements can be sustained and whether the breakdown of discipline undercuts its worth. Haunted by the prospect of his death, Aschenbach also helps us reflect on whether it is possible to achieve anything in full awareness of our finitude and in knowing our successes are always incomplete.
- Sales Rank: #1767899 in Books
- Published on: 2013-11-12
- Original language: English
- Number of items: 1
- Dimensions: 9.10" h x 1.10" w x 6.10" l, 1.15 pounds
- Binding: Hardcover
- 280 pages
Review
Philip Kitcher's book is a profession of love: for Mann's novella, for Mahler's music, and for the commitment to ideas and reflections on life that a certain current of German culture represented in the nineteenth and early twentieth centuries. One senses that Kitcher has so completely immersed himself in the works of Mann, Mahler's music, their biographies, and to an extent the works by Britten and Visconti, that he speaks from within these works and lives.
(Mark M. Anderson, Columbia University)Unusually rich, rewarding, and astounding in its range, Deaths in Venice asks important philosophical questions―about art's demands on its practitioners, its connections to the rest of life, and the possibility of endowing our short, evanescent lives with some lasting significance. More than reaching conclusions, these works provide beginnings: examples of new human possibilities that are not to be imitated but transcended―and that, in large part, is how the book itself proceeds. This is much more than a work on the philosophy of art: it does philosophy with art.
(Alexander Nehamas, Princeton University)Deaths in Venice is a thorough discussion of the possible relation of literature, and art in general, to philosophical thinking. It is this double intensity of perspectives―a double intensity that is never sacrificed in the one or the other direction―that makes reading the book a unique experience.
(Rudiger Campe, Yale University)Deaths in Venice is to the twenty-first century what Nietzsche's literary and musical criticism was to the nineteenth: a philosopher's profound, shrewd, learned, sharp-eyed, and humane interpretation of art, which is also a profound interpretation of daily life. Starting from the doomed, lonely passion of Thomas Mann's Aschenbach, Philip Kitcher explores three millennia of thinking and the hidden mysteries of the individual mind as it confronts itself, its neighbors, and the universe.
(Edward Mendelson, Columbia University)[An] outstanding, intellectually agile book, which sheds so much fresh light on Mann's work and on the philosophical questions that it explores.
(Ritchie Robertson Times Literary Supplement) About the Author
Philip Kitcher is the John Dewey Professor of Philosophy at Columbia University and the author of numerous books and articles, including The Ethical Project (2014), Preludes to Pragmatism: Toward a Reconstruction of Philosophy (2012), and Science in a Democratic Society (2011).
Most helpful customer reviews
6 of 7 people found the following review helpful.
An intriguing inquiry into the relationships among novella, film and opera
By Michael Greenebaum
This is a fascinating, and sometimes infuriating, book. Real and fictive people, past and present, music and text all co-exist in an imagined space in which they can inform and elucidate one another. The use of one work of fiction to explicate another is common enough, as is the use of an author's life to explicate a text (and occasionally the other way around), but it makes me uneasy nonetheless.
In this case, the author considers Mann, Visconti and Britten and their interpretations of Aschenbach. He makes it easy to imagine Aschenbach as a real person interpreted in various ways by the author, film-maker, and composer. But he isn't; he is Mann's creation. Mann is quite clear about how much of his own experience is the basis of the novella, and how much the death of Mahler may have inspired it. Nonetheless, Aschenbach is a fictional character; Visconti and Britten are interpreting a work of fiction, no matter how much their own lives may be implicated in their work. Philip Kitcher's strategy, while intriguing and frequently illuminating, does not allow these works, two of which (the novella and the opera) are masterpieces, to stand on their own.
It is disappointing that he has so little to say about Britten's opera - it is clear that he would much rather talk about Mahler. It is particularly regrettable since he raises the issue of whether Aschenbach succumbs to the plague or to a weak heart, and he seems to come down on the side of the heart. Britten's opera comes down on the side of the plague (even though the composer wrote it with a failing heart) and I wish Kitcher had devoted more attention to it.
My occasional impatience with this book is more than balanced by what I learned from it and what it forces me to think about. The author writes well and I will return to his work with pleasure.
3 of 3 people found the following review helpful.
Very Interesting and Unusual; 4.5 Stars
By R. Albin
This very interesting book is an unusual combination of intellectual history, art criticism, and philosophical reflection. The quality of writing is excellent and like all of Kitcher's work, the analysis is meticulous. Kitcher's conclusions are based on careful examination of primary sources and secondary literature. Enthusiasm for this book will probably be a function of enthusiasm for Mann, Britten, and Mahler, but if you enjoy the work of these artists, this book will be a very enjoyable read.
Since Mann's Death in Venice is the armature of this book, Mann is the primary subject of Kitcher's analysis. Kitcher argues that Mann had explicitly philosophical intentions in writing Death in Venice. In particular, Mann is focusing on the existensial question of what is a meaningful life? Kitcher has a detailed, very interesting, and thoughtful analysis of how Mann drew on the work of Schopenhauer and Nietzsche to address this question. Mann's particular preoccupation with the roles of artists, and the tension between art and the ethical demands of a more conventional life. Kitcher provides a very close reading of Death in Venice, pointing to Mann's use of philosophical themes from Schopenhauer and Nietzsche and .also with important aspects of his personal life and experience. Mann's ambiguous sexuality and the clear parallels with von Aschenbach are explored but in way that stresses how this aspect of Death in Venice and Mann's life should not overshadow the more philosophical aspects of Death in Venice. There is a lot of interesting information about subsequent, interesting aspects of Mann's life and work.
Kitcher has similar, thoughtful treatments of Britten's and Visconti's treatments of Death in Venice. The different aspects of Death in Venice emphasized in these 2 rather different works are discussed nicely. The discussion of the Visconti film leads to an interesting discussion of Mahler. Kitcher points to how Mann's depiction of von Aschenbach, and particularly von Aschenbach's death, drew on Mahler's unfortunate demise. This leads to an interesting discussion of Mahler's philsophical intentions and reflections on existential questions, bringing the book back to the theme of what is a meaningful life. Kitcher discusses the role of great art as a meaningful answer to this basic question.
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