| Title: | Die Funktion des Dämonischen: Thomas Manns Kunstbegriff in Doktor Faustus |
| Author: | Claudia Spiridon |
| Publication: | Temeswarer Beiträge zur Germanistik, 13, p. 171-185 |
| p-ISSN: | 1453-7621 |
| Publisher: | Mirton Verlag |
| Place: | Temeswar |
| Year: | 2016 |
| Abstract: | Thomas Mann’s portrait of the artist is closly linked to the concept of the “demonic”. Considering the composer's destiny and his sacrifice for the sake of art, Mann viewes the myth of Faust in dostoevskian line, associating the ideas of genius and inspiration with those of intoxication and irrationality. Adrian Leverkühn, the novel's main character, combines the nitzschean concept of the “dionysian” with “demonic” marks. The pact with the devil does not serve to the purpose of the individual, as it is concerned with transcending the artistic limits. The faustian consequences are opposite in epistemology towards art: individual benefits towards universal resonances. Traditional music patterns can be overcome only through savage and irrational influences. The essence of contemporary art is centred on the demonic, on the ambiguity between extasy and decline. |
| Key words: | demonic, genius, inspiration, extasy, decline, dionysian, fin de siècle, pact with the devil |
| Language: | German |
| Links: |  pdf  html |
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