Mann was less interested, I think, in constructing any kind of "portrait of an age" than he was in delineating an individual consciousness in which profound struggles about identity and direction arise - struggles that Mann himself had not only reflected on but felt keenly. Visconti takes up this central focus of the novella, but he couples it with a more social perspective.

It may be hyperbolic to declare that Shakespeare teaches us more about being human than all the natural scientists combined.

One of the things I want to do in the book is to explore how philosophy can be done in literature. I start doing that in the first chapter, by introducing the idea of "philosophy by showing". What literature/philosophy shows is how to look at some important facets of life in a new way, thus changing the frame in which subsequent philosophical argument proceeds.

I suggest in my own discussion of this episode, Mann invites us to set the attempt to philosophize about his predicament in the context of Aschenbach's life. The literary presentation thus adds to the naked philosophical skeleton.

I rather stumbled into philosophy. When I began my undergraduate career at Cambridge, I studied mathematics.

Critics who perceive the first level of Mann's irony recognize that the second voice is giving us reasons to be dubious about various aspects of Aschenbach's life and work. But many of them don't appreciate the second level of irony, the one exemplified in setting this narrative voice alongside the more sympathetic one, and inviting us to choose.

If there are to be appropriate judgments about what questions are significant, you need both the informed views of scientists who know what has been achieved and what future developments are promising and the reflective judgments of representatives of different groups who can identify what kinds of information are most urgently needed.