Coming out of His Father's Closet: Klaus Mann's "Der fromme Tanz" as an Anti-"Tod in Venedig"
In Der fromme Tanz (1925), Klaus Mann creates an anti-Tod in Venedig, thereby affirming what his father Thomas repudiated in himself and in Gustav von Aschenbach: his homosexuality. In this pioneering attempt to map out a gay identity, Mann allows the intersection of personal and literary self-fashi...
Gespeichert in:
| Veröffentlicht in: | Monatshefte (Madison, Wis. : 1946) Wis. : 1946), 2005-12, Vol.97 (4), p.615-627 |
|---|---|
| 1. Verfasser: | |
| Format: | Artikel |
| Sprache: | eng |
| Schlagworte: | |
| Online-Zugang: | Volltext |
| Tags: |
Tag hinzufügen
Keine Tags, Fügen Sie den ersten Tag hinzu!
|
| container_end_page | 627 |
|---|---|
| container_issue | 4 |
| container_start_page | 615 |
| container_title | Monatshefte (Madison, Wis. : 1946) |
| container_volume | 97 |
| creator | Chamberlin, Rick |
| description | In Der fromme Tanz (1925), Klaus Mann creates an anti-Tod in Venedig, thereby affirming what his father Thomas repudiated in himself and in Gustav von Aschenbach: his homosexuality. In this pioneering attempt to map out a gay identity, Mann allows the intersection of personal and literary self-fashioning to function as a locus for the establishment of a cultural identity for the gay Weimar Republic youth. An analysis of protagonist Andreas Magnus and of autobiographical sources reveals an antipathetic reading of his father's novella and a main character who is a polar opposite of Aschenbach. Turning instead to George and Wedekind for inspiration, Mann counters the austere rejection of "Sympathie mit dem Abgrund" with the "Vergottung des Leibes" exemplified in Andreas's unrequited love for Niels. With Andreas as a new Aschenbach, Mann attempts to assert himself against his father by proposing life-affirming consequences of embracing and sublimating homoerotic desire. |
| format | Article |
| fullrecord | <record><control><sourceid>jstor</sourceid><recordid>TN_cdi_jstor_primary_30154241</recordid><sourceformat>XML</sourceformat><sourcesystem>PC</sourcesystem><jstor_id>30154241</jstor_id><sourcerecordid>30154241</sourcerecordid><originalsourceid>FETCH-jstor_primary_301542413</originalsourceid><addsrcrecordid>eNqFybsKwjAUgOEgCtbLIwiHLk6FJL1o3aRaCuJW3KQEmtaUNpGcdNCn18Hd6YfvnxCPpWEU8D2jU-JRypMg5Ts2JwvEjlIap0nqkXtmBqVbMKMD00ChEHLhHtJuEbLeoHQHuPRiRLgKrb_on6SFxpphkFAK_fZBIAgNR-1U4JemBqXhJrWsVeuvyKwRPcr1r0uyyc9lVgQdOmOrp1WDsK8qpCyOeMTCf_8DQdw9OA</addsrcrecordid><sourcetype>Publisher</sourcetype><iscdi>true</iscdi><recordtype>article</recordtype></control><display><type>article</type><title>Coming out of His Father's Closet: Klaus Mann's "Der fromme Tanz" as an Anti-"Tod in Venedig"</title><source>Jstor Complete Legacy</source><creator>Chamberlin, Rick</creator><creatorcontrib>Chamberlin, Rick</creatorcontrib><description>In Der fromme Tanz (1925), Klaus Mann creates an anti-Tod in Venedig, thereby affirming what his father Thomas repudiated in himself and in Gustav von Aschenbach: his homosexuality. In this pioneering attempt to map out a gay identity, Mann allows the intersection of personal and literary self-fashioning to function as a locus for the establishment of a cultural identity for the gay Weimar Republic youth. An analysis of protagonist Andreas Magnus and of autobiographical sources reveals an antipathetic reading of his father's novella and a main character who is a polar opposite of Aschenbach. Turning instead to George and Wedekind for inspiration, Mann counters the austere rejection of "Sympathie mit dem Abgrund" with the "Vergottung des Leibes" exemplified in Andreas's unrequited love for Niels. With Andreas as a new Aschenbach, Mann attempts to assert himself against his father by proposing life-affirming consequences of embracing and sublimating homoerotic desire.</description><identifier>ISSN: 0026-9271</identifier><identifier>EISSN: 1934-2810</identifier><language>eng</language><publisher>University of Wisconsin Press</publisher><subject>Bourgeois ; Death ; Fathers ; Gay rights movements ; Homosexuality ; Literary criticism ; Novels ; Protagonists ; Queer culture ; Sons</subject><ispartof>Monatshefte (Madison, Wis. : 1946), 2005-12, Vol.97 (4), p.615-627</ispartof><rights>Copyright 2005 The Board of Regents of the University of Wisconsin System</rights><lds50>peer_reviewed</lds50><woscitedreferencessubscribed>false</woscitedreferencessubscribed></display><links><openurl>$$Topenurl_article</openurl><openurlfulltext>$$Topenurlfull_article</openurlfulltext><thumbnail>$$Tsyndetics_thumb_exl</thumbnail><linktopdf>$$Uhttps://www.jstor.org/stable/pdf/30154241$$EPDF$$P50$$Gjstor$$H</linktopdf><linktohtml>$$Uhttps://www.jstor.org/stable/30154241$$EHTML$$P50$$Gjstor$$H</linktohtml><link.rule.ids>314,776,780,799,57995,58228</link.rule.ids></links><search><creatorcontrib>Chamberlin, Rick</creatorcontrib><title>Coming out of His Father's Closet: Klaus Mann's "Der fromme Tanz" as an Anti-"Tod in Venedig"</title><title>Monatshefte (Madison, Wis. : 1946)</title><description>In Der fromme Tanz (1925), Klaus Mann creates an anti-Tod in Venedig, thereby affirming what his father Thomas repudiated in himself and in Gustav von Aschenbach: his homosexuality. In this pioneering attempt to map out a gay identity, Mann allows the intersection of personal and literary self-fashioning to function as a locus for the establishment of a cultural identity for the gay Weimar Republic youth. An analysis of protagonist Andreas Magnus and of autobiographical sources reveals an antipathetic reading of his father's novella and a main character who is a polar opposite of Aschenbach. Turning instead to George and Wedekind for inspiration, Mann counters the austere rejection of "Sympathie mit dem Abgrund" with the "Vergottung des Leibes" exemplified in Andreas's unrequited love for Niels. With Andreas as a new Aschenbach, Mann attempts to assert himself against his father by proposing life-affirming consequences of embracing and sublimating homoerotic desire.</description><subject>Bourgeois</subject><subject>Death</subject><subject>Fathers</subject><subject>Gay rights movements</subject><subject>Homosexuality</subject><subject>Literary criticism</subject><subject>Novels</subject><subject>Protagonists</subject><subject>Queer culture</subject><subject>Sons</subject><issn>0026-9271</issn><issn>1934-2810</issn><fulltext>true</fulltext><rsrctype>article</rsrctype><creationdate>2005</creationdate><recordtype>article</recordtype><sourceid/><recordid>eNqFybsKwjAUgOEgCtbLIwiHLk6FJL1o3aRaCuJW3KQEmtaUNpGcdNCn18Hd6YfvnxCPpWEU8D2jU-JRypMg5Ts2JwvEjlIap0nqkXtmBqVbMKMD00ChEHLhHtJuEbLeoHQHuPRiRLgKrb_on6SFxpphkFAK_fZBIAgNR-1U4JemBqXhJrWsVeuvyKwRPcr1r0uyyc9lVgQdOmOrp1WDsK8qpCyOeMTCf_8DQdw9OA</recordid><startdate>20051201</startdate><enddate>20051201</enddate><creator>Chamberlin, Rick</creator><general>University of Wisconsin Press</general><scope/></search><sort><creationdate>20051201</creationdate><title>Coming out of His Father's Closet: Klaus Mann's "Der fromme Tanz" as an Anti-"Tod in Venedig"</title><author>Chamberlin, Rick</author></sort><facets><frbrtype>5</frbrtype><frbrgroupid>cdi_FETCH-jstor_primary_301542413</frbrgroupid><rsrctype>articles</rsrctype><prefilter>articles</prefilter><language>eng</language><creationdate>2005</creationdate><topic>Bourgeois</topic><topic>Death</topic><topic>Fathers</topic><topic>Gay rights movements</topic><topic>Homosexuality</topic><topic>Literary criticism</topic><topic>Novels</topic><topic>Protagonists</topic><topic>Queer culture</topic><topic>Sons</topic><toplevel>peer_reviewed</toplevel><toplevel>online_resources</toplevel><creatorcontrib>Chamberlin, Rick</creatorcontrib><jtitle>Monatshefte (Madison, Wis. : 1946)</jtitle></facets><delivery><delcategory>Remote Search Resource</delcategory><fulltext>fulltext</fulltext></delivery><addata><au>Chamberlin, Rick</au><format>journal</format><genre>article</genre><ristype>JOUR</ristype><atitle>Coming out of His Father's Closet: Klaus Mann's "Der fromme Tanz" as an Anti-"Tod in Venedig"</atitle><jtitle>Monatshefte (Madison, Wis. : 1946)</jtitle><date>2005-12-01</date><risdate>2005</risdate><volume>97</volume><issue>4</issue><spage>615</spage><epage>627</epage><pages>615-627</pages><issn>0026-9271</issn><eissn>1934-2810</eissn><abstract>In Der fromme Tanz (1925), Klaus Mann creates an anti-Tod in Venedig, thereby affirming what his father Thomas repudiated in himself and in Gustav von Aschenbach: his homosexuality. In this pioneering attempt to map out a gay identity, Mann allows the intersection of personal and literary self-fashioning to function as a locus for the establishment of a cultural identity for the gay Weimar Republic youth. An analysis of protagonist Andreas Magnus and of autobiographical sources reveals an antipathetic reading of his father's novella and a main character who is a polar opposite of Aschenbach. Turning instead to George and Wedekind for inspiration, Mann counters the austere rejection of "Sympathie mit dem Abgrund" with the "Vergottung des Leibes" exemplified in Andreas's unrequited love for Niels. With Andreas as a new Aschenbach, Mann attempts to assert himself against his father by proposing life-affirming consequences of embracing and sublimating homoerotic desire.</abstract><pub>University of Wisconsin Press</pub></addata></record> |
| fulltext | fulltext |
| identifier | ISSN: 0026-9271 |
| ispartof | Monatshefte (Madison, Wis. : 1946), 2005-12, Vol.97 (4), p.615-627 |
| issn | 0026-9271 1934-2810 |
| language | eng |
| recordid | cdi_jstor_primary_30154241 |
| source | Jstor Complete Legacy |
| subjects | Bourgeois Death Fathers Gay rights movements Homosexuality Literary criticism Novels Protagonists Queer culture Sons |
| title | Coming out of His Father's Closet: Klaus Mann's "Der fromme Tanz" as an Anti-"Tod in Venedig" |
| url | https://sfx.bib-bvb.de/sfx_tum?ctx_ver=Z39.88-2004&ctx_enc=info:ofi/enc:UTF-8&ctx_tim=2025-01-24T13%3A23%3A56IST&url_ver=Z39.88-2004&url_ctx_fmt=infofi/fmt:kev:mtx:ctx&rfr_id=info:sid/primo.exlibrisgroup.com:primo3-Article-jstor&rft_val_fmt=info:ofi/fmt:kev:mtx:journal&rft.genre=article&rft.atitle=Coming%20out%20of%20His%20Father's%20Closet:%20Klaus%20Mann's%20%22Der%20fromme%20Tanz%22%20as%20an%20Anti-%22Tod%20in%20Venedig%22&rft.jtitle=Monatshefte%20(Madison,%20Wis.%20:%201946)&rft.au=Chamberlin,%20Rick&rft.date=2005-12-01&rft.volume=97&rft.issue=4&rft.spage=615&rft.epage=627&rft.pages=615-627&rft.issn=0026-9271&rft.eissn=1934-2810&rft_id=info:doi/&rft_dat=%3Cjstor%3E30154241%3C/jstor%3E%3Curl%3E%3C/url%3E&disable_directlink=true&sfx.directlink=off&sfx.report_link=0&rft_id=info:oai/&rft_id=info:pmid/&rft_jstor_id=30154241&rfr_iscdi=true |