We know that he gave Aschenbach Mahler's first name, and also his facial features. So Visconti picks up on something interesting. That led me to think about ways of developing further the Aschenbach-Mahler connection.
Philip KitcherUsing the Adagietto of Mahler's Fifth is one of the touches of pure genius in Visconti's film (even though Mahlerians complain very loudly that the piece has been ruined), since it corresponds perfectly to Aschenbach's yearnings and to his circling walks around Venice.
Philip KitcherI 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.
Philip KitcherAny writer who could handle all these different voices would deserve high praise, but to do so without any sense of jarring or incoherence is an extraordinary accomplishment.
Philip KitcherIn working towards ways of reading Mann, so that his own advances in suggesting new perspectives will become more vivid, I do some fairly standard philosophical analysis of ideas in Nietzsche and Schopenhauer.
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 Kitcher