So my methodological approach is to draw on many different features in highlighting different facets of the novella (and the opera and the film).

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.

I'm very concerned about the increasing distortion of research by the intrusion of the market. Universities are beginning to see science as a means of attracting funds.

Look 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.

In elaborating how "philosophy by showing" works, and in defending the idea that literature and music can contribute to philosophical "showing", I am also doing something more standardly philosophical. But I view most of the book as an interweaving of philosophy and literary criticism. If that entails a broadening of a standard idea of philosophy, it's a broadening I'd like to see happen.

First, my frame of reference for the Britten opera shifted. I'd always thought of Britten's approach in Death in Venice as another exploration of the plight of the individual whose aspirations are at odds with those of the surrounding community: his last opera returning to the themes of Peter Grimes. As I read and listened and thought, however, Billy Budd came to seem a more appropriate foil for Death in Venice.

There'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.