Fischer Verlag, Berlin Zlatko Crnkovi Mediasat Group, S. Sva prava pridrana. U Eng- , eskom perivoju, iako je tek bio ozelenio njenim liem, MJae sparno kao u kolovozu, a u blizini grada sve je vrvjelo d vozila i etaa. Kod Aumeistera, kamo su ga bile dovele Neprekidno gibanje due lat. Dodue, nosio je sunca, izvan perivoja, otvorenim poljem, kui, jer je bi tipinu bavarsku naprtnjau na leima, i bio u ukastu umoran a nad Fohringom spremala se kanda oluja, te j suknenu odijelu s pojasom, preko lijeve ruke podboene o odluio pokraj Sjevernog groblja priekati tramvaj koji ga slabinu prebacio je sivu kinu kabanicu, a u desnoj drao odvesti ravno kui.

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Start your review of Smrt u Veneciji Write a review Shelves: classics , audiobook , novellas , , classics-european Brilliant prose, expertly crafted, and an audacious, masterful blending of mythology, allusion and symbolism.

In many ways, a work of considerable genius. Unfortunately, the story itself felt ho hum and left me cold and rather unenthused. Hopefully, at that point, one of me will hold sway.

For now I just wished for a deeper connection to the characters and the tale. To clear his mind and get his creative juices flowing again, Gustav von Aschenbach takes a holiday and winds up amidst the beautiful decadence of Venice. This was Venice, the flattering and suspect beauty--this city, half fairy tale and half tourist trap, in whose insalubrious air the arts once rankly and voluptuously blossomed, where composers have been inspired to lulling tones of somniferous eroticism.

While there, von Aschensbach becomes infatuated with the striking, classical beauty of a teenage boy named Tadzio. Slowly, the writer begins to lose control of his emotional austerity as his long-bottled passions avalanche over him.

Meanwhile, a deadly cholera epidemic is stealthily spreading through the city, and von Aschenbach, though he can feel the onset of symptoms, is too enthralled to make his escape. Mann shows us someone who has lived a carefully controlled, passion free life in the pursuit of moral, intellectual art. When we first encounter von Aschenbach, he is an emotional corpse existing in the extreme state of pure reason and utter sensual denial.

Mann shows us this not as an ideal, but as one end of the spectrum to be avoided. It is his falling from one extreme to another, and his inability to achieve a balance, that leads eventually to his self-destruction. My biggest problem with the above is that understood it without feeling it. I would spot an allusion that Mann was incorporating and think how impressive it was…but it never translated into an emotional connection to the story. Thus, I was kept at a distance from the story, and this left me feeling less enamored with the work as a whole, than its prodigious technical achievements might otherwise merit.

Still, as I mention above, there is much to love about this work, and part of my tepid reaction to the story may be my unfamiliarity with some of the source texts that Mann draws upon for inspiration.

For now, an impressed 3. Highly recommended.


Smrt u Veneciji



„Smrt u Veneciji“: novela o smrti i slobodi.


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