Think about Mann's own daily routine (ascribed to Aschenbach), read the extant diaries and the letters in which he discusses the novella's themes, and it won't be so obvious that the attraction to Tadzio is completely unprecedented; it also won't be obvious that what Aschenbach wants is full sexual contact.
Philip KitcherFinally, this is one way to reconcile the delight in beauty with the bourgeois life. Aschenbach, on one reading, has spent virtually all of his adult life balancing his restrained homosexuality, which is bound together with his sensitivity to beauty and thus with his artistic vocation, against the demands of conventional society.
Philip KitcherMy ethical naturalism sees us as facing the predicament of being social animals without evolved adaptations that make social life easy. The fundamental problem that sparks the ethical project lies in our limited responsiveness to one another. The only way we have to address that problem is through a representative, informed, and engaged conversation.
Philip KitcherAnxieties about ourselves endure. If our proper study is indeed the study of humankind, then it has seemed-and still seems-to many that the study is dangerous. Perhaps we shall find out that we were not what we took ourselves to be. But if the historical development of science has indeed sometimes pricked our vanity, it has not plunged us into an abyss of immorality. Arguably, it has liberated us from misconceptions, and thereby aided us in our moral progress.
Philip KitcherLook at Mann's reading habits, his explicit comments on Nietzsche, and his copy of Birth of Tragedy, and it starts to seem doubtful that this work of Nietzsche's played much role in the gestation of the novella.
Philip KitcherThere's a disciplined erotic component to it, so that the height of sexual contact is the embrace, the modest touch, a relatively chaste kiss. An important passage from the surviving 1942 diary (one I quote in the book) relates this mode of sexual expression to his own life. Mann had returned to his diary for 1927 (one of those he burned) and to his parting from the young man, Klaus Heuser, whom the family had met on holiday and invited to Munich.
Philip KitcherI found a deep kinship between Mahler's recurrent attempts to confront all sides of life and to affirm himself in the face of his own finitude, and Aschenbach's dedication to persevere in the literary evocation of beauty. Exploring this kinship led me to reflect on many of Mahler's songs and symphonies - and particularly his great masterpiece, Das Lied von der Erde. The end result was a way of reading Mann that I hadn't originally anticipated at all.
Philip Kitcher