Mann, Thomas:
Der Tod in Venedig (Death in Venice) - ejemplar autografiado
2001, ISBN: 3f4dd4ef0514b5f696717d7e06228ed1
Pasta dura, Primera edición
1912. Zwei Bände (vollständig). Berlin, S.Fischer, 1912. Gross-Oktav (18 cm x 25 cm). Die Erstausgabe von Mann's Meisterwerk befindet sich auf den Seiten 1368-1398 und 1499-1526 des zwei… Más…
1912. Zwei Bände (vollständig). Berlin, S.Fischer, 1912. Gross-Oktav (18 cm x 25 cm). Die Erstausgabe von Mann's Meisterwerk befindet sich auf den Seiten 1368-1398 und 1499-1526 des zweiten Bandes der Neuen Rundschau, jeweils in der Oktober-Ausgabe und November-Ausgabe des Jahrgangs 1912 [Potempa - E26.2]. Original Hardcover / Originales Halbpergament der originalen Verlagsbindung mit den wunderbaren Vorsatzblättern. Exemplar mit Besitzvermerk des Vorbesitzers Hermann Wolf in Band 2. Wolf hat seinen Namen auf die Innenseite des Vorsatzblattes des 2.Bandes signiert. Band 2 mit Schaden am oberen Kapital (siehe Photos). Beide Bände generell in guter bis sehr guter Erhaltung mit einigen, rein äusserlichen Gebrauchsspuren und nachgedunkelten Einbandrücken. Innen durchgehend sauber mit ganz wenigen, nur vereinzelt auftretenden Stockfleckchen und kleinen Läsuren an drei Seiten. Obwohl Ausgaben der Neuen Rundschau gelegentlich auf dem deutschen Antiquariatsmarkt angeboten werden, ist der komplette Jahrgang 1912, in der wunderbaren Halbpergament-Ausgabe, von grosser Seltenheit und ein "Muss" für jeden Thomas Mann-Sammler. Die Luxus-Ausgabe der Novelle (Hyperionverlag) erschien erst nach der Publikation des Schlusskapitels in der Neuen Rundschau. [For a bibliographical reference see the defining Bibliography on works by Thomas Mann: Potempa - E26.2 / (Potempa, Georg: Thomas Mann-Bibliographie. Das Werk.)] "Death in Venice" / "Der Tod in Venedig" ist eine der bedeutendsten Publikationen im Oeuvre des herausragenden Thomas Mann. Neben der Bedeutung des Texts als ein literarisches Lehrstück zur Beschreibung einer verdeckten, homoerotischen Obsession, ist der vielfach dokumentierte Nachweis von Mann's Inspiration zu dem Text sowie die umfassende, kritische Aufarbeitung im kontext zu seinen eigenen Angaben in Briefen an Hans von Hülsen, Erinnerungen von Katia Mann und im 1930 erschienenen "Lebensabriss", eine der spannendsten Begebenheiten deutscher Literaturgeschichte des 20.Jahrhunderts. Der Germanist und Thomas Mann-Experte Herbert Lehnert verweist in seinem Essay "Thomas Mann's Interpretations of 'Der Tod in Venedig' ["Death in Venice"] and their Reliability" auf die bedeutende, aber selbst unter deutschen Wissenschaftlern recht unbekannte Publikation von Erwin Rohde: "Psyche - Seelencult und Unsterblichkeits-Glaube der Griechen" als unerkannte und von Mann ungenannte Quelle, belegt durch Mann's Handexemplar der Ausgabe die laut Lehnert selbst noch in der schweizer Exil-Bibliothek von Thomas Mann vorhanden war. Die Geschichte der Publikation und des Erstdruck's von "Tod in Venedig" ist ebenfalls von Bedeutung da Thomas Mann's eigene Angaben der Entwicklung der Novelle von einer schlichten Übung bis zur Publikation überliefert sind und er seine klaren Vorstellungen zur "Rundschau" als perfektes Organ in welchem ein Erstdruck der Novelle erscheinen solle, formuliert. Zu diesem Zeitpunkt war Mann bereits etabliert und die bewusste, geniale, kontrollierte Wahl der Rundschau als Publikationsumfeld, eignete sich perfekt um zwar zu publizieren, aber einen drohenden Skandal durch das "Verstecken" inmitten von zahlreichen Texten anderer Schriftsteller, abzufedern. Im "Lebensabriss" (XI, 123) schreibt Thomas Mann im Jahr 1930: "Die Novelle war so anspruchslos beabsichtigt wie nur irgendeine meiner Unternehmungen; sie war als rasch zu erledigende Improvisation und Einschal-tung in die Arbeit an dem Betrügerroman gedacht, als eine Geschichte, die sich nach Stoff und Umfang ungefähr für den 'Simplicissimus' eignen würde". Lehnert jedoch verweist zurecht auf den sich ergebenden Widerspruch aus einem Brief an Hans von Hülsen (vom 3.Juli, 1911) in welchem Mann eine "schwierige, wenn nicht unmögliche Novelle" erwähnt und in einem Brief an Philipp Witkop (vom 18.Juli, 1911) schreibt Mann ganz explizit er arbeite an einer "recht sonderbare[n] Sache, die ich aus Venedig mitgebracht habe, [eine] Novelle, ernst und rein im Ton, ein Fall von Knaben- liebe bei einem alternden Künstler behandelnd. Sie sagen 'hum, hum!' Aber es ist sehr anständig." In einem weiteren Brief an Hans von Hülsen (vom 21. August, 1911) nimmt Mann Bezug auf die Novelle und erklärt, dass der Text in der Neuen Rundschau erscheinen soll, "wo der einzig richtige Ort dafür ist." (Beschreibung und Kommentar: Holger Smyth). __________________________________________________________________________________________________ "Death in Venice" / "Death in Venice" is one of the most important publications in the oeuvre of Thomas Mann. The Novel is today not only accepted as a literary masterclass in hidden, homoerotic obsession but Mann's inspiration for the text as well as his own statements in letters to Hans von Hülsen, memories of Katia Mann and Mann's statements in "Lebensabriss" ["Story of a Life"] published in 1930, make "Death in Venice" one of the most exciting events of 20th century german literature. The scholar and Thomas Mann-expert Herbert Lehnert [Professor of german literature at Rice University], refers in his essay "Thomas Mann's Interpretations of 'Death in Venice' and their Reliability" to an important publication by Erwin Rohde: "Psyche - The cult of Souls and the Belief in Immortality among the Greeks" as an unrecognized and by Mann unnamed source of Inspiration, documented by Mann's personal copy of the edition which, according to Lehnert, Thomas Mann even kept when in exile in Switzerland. The copy of Mann's first edition of "Der Tod in Venedig", which we offer here for sale, also comes with a wonderful edition of Rohde's book "Psyche", in a beautiful, decorative half-leather, on excellent paper. The genesis of the novel and the publication of the first printing of "Death in Venice" is also of great interest. Thomas Mann's own statements about the development of the novella from a simple, experimental exercise to a meaningful part of Mann's work and Mann's careful control in publishing the explosive text, hidden among others, in the german periodical "Die Neue Rundschau", is spellbinding. In 1911/1912, Thomas Mann was already well established and the conscious, ingenious and carefully controlled choice of "Die Neue Rundschau" as the most inconspicuous environment for publication, made sure that by "hiding" the text in plain sight, within a periodical carrying numerous essays of contemporaries, an impending scandal could possibly be avoided. In "The Story of a Life", Thomas Mann wrote in 1930: "Die Novelle war so anspruchslos beabsichtigt wie nur irgendeine meiner Unternehmungen; sie war als rasch zu erledigende Improvisation und Einschal-tung in die Arbeit an dem Betrügerroman gedacht, als eine Geschichte, die sich nach Stoff und Umfang ungefähr für den 'Simplicissimus' eignen würde". Lehnert, however, rightly points out that Mann had accepted the work's progression from a mere exercise to a 'novella' and as a work of importance for his Bibliography. Lehnert refers to the contradiction in the memoir from 1930 by pointing out a letter Mann wrote to Hans von Hülsen (on July 3rd, 1911) in which Mann mentions a "difficult, if not impossible novella" and Lehnert also refers to a letter by Thomas Mann to Philipp Witkop (from July 18th, 1911) in which Mann, quite explicitly, mentions that he's working on a: "recht sonderbare Sache, die ich aus Venedig mitgebracht habe, [eine] Novelle, ernst und rein im Ton, ein Fall von Knaben- liebe bei einem alternden Künstler behandelnd. Sie sagen 'hum, hum!' Aber es ist sehr anständig." In another letter to Hans von Hülsen (dated August 21, 1911), Mann refers to the novella and explains that the text should appear in the Neue Rundschau, "where the only right place for it is." (Description and commentary: Holger Smyth)., 1912, 0, Berlin: S. Fischer,, 1913. Like any lover, he desired to please; suffered agonies at the thought of failure First trade edition, first printing, one of only 1,000 copies only, of Mann's celebrated Venetian novella. Widely recognized as "one of the undisputed classics of contemporary European literature" and a "paradigmatic master-text of homosexual eroticism" (Adair, p. 14 and 93), Der Tod in Venedig is rooted in the author's personal experience. The inspiration came to Mann during a vacation in Venice in the summer of 1911. While staying at the Grand Hôtel des Bains on the Lido, the author was captivated by the beauty of a 10-year-old Polish boy, W adys aw (W adzio) Moes, and then used him as the model for the protagonist Tadzio. Begun in July 1911, the work took a year to complete. Mann later admitted: "Nothing is invented in Death in Venice. The 'pilgrim' at the North, the dreary Pola boat, the grey-haired rake, the sinister gondolier, Tadzio and his family, the journey interrupted 14 by a mistake about the luggage, the cholera, the upright derk at the travel bureau, the rascally ballad singer, all that and anything else you like, they were all there. I had only to arrange them when they showed at once and in the oddest way their capacity as elements of composition" (ibid, p. 14-5). A signed limited edition of 60 copies was published in the same year. The story originally appeared in 1912, in two numbers of the journal Neue Rundschau, and subsequently in a private edition of 100 unsigned copies. Provenance: attractively designed bookplate of Dr. Kurt Krüger-Herbot (1884-1929), a German public prosecutor, engraved by Ernst Richter. Octavo. Original marbled paper boards, japon strip, blue paper label, white silk book marker. A fine copy. Gilbert Adair, The Real Tadzio. Thomas Mann's 'Death in Venice' and the Boy who Inspired It, 2001., 1913, 0, 1912. Berlin, S. Fischer Verlag, 1912. Royal 8vo. Volumes 1 and 2 (i.e. the entire year) of "Die neue Rundschau, 1912" present, in the original half vellum bindings with gilt title to spines, top edge gilt. In remarkably fine condition, with just a bit of soiling to spines and a small crack to upper hinges of volume 1 ("Der Tod in Venedig" is in vol. 2). Small stamp in Hebrew to front boards and to title-pages. Large engraved book plates ("E. Schwabach-Märzdorff") to inside of front boards and to front free end-papers. A very nice and clean set. The true first printing of Thomas Mann's masterpiece, "The Death in Venice". Contrary to what is generally believed, the actual first appearance of "The Death in Venice" was not the extremely scarce de luxe-edition that appeared in 100 numbered copies in 1912. In fact the work originally appeared (and in its entirety) in the October and November issues (i.e. in the second volume, on pp. 1368-1398 + 1499-1526) of "Die Neue Rundschau", 1912. Simultaneusly with this first appearance, Poeschel und Trepte in Leipzig were preparing the luxury edition of the work for Hans von Weber's Hyperionverlag in Munich, as one of his "Hundertdrucke". Probably due to the controversial theme of the work, Thomas Mann was hesitant to immediately handing over the manuscript to his regular publisher S. Fisher for him to publish it directly and had settled on the bibliophile edition already before finishing the work. He did give Fischer the work to publish, though, and thus it came to appear both in Fischer's "Neue Rundschau", over two months, and with Weber's Hyperionverlag. While the first part of the work was being published in "Die neue Rundschau", the luxury edition was being prepared, and in the end, the luxury edition was only issued (shortly) after the second and final part had appeared in "Die neue Rundschau" in November 1912. Shortly after the famous luxury edition, in 1913, Fischer published the first trade edition in book form. By 1924, 50.000 copies of the work had appeared in this form. Thomas Mann's disturbing masterpiece, probably the most famous story of obsession ever written, is considered one of the most important literary productions of the 20th century., 1912, 0, 1912. Berlin, S. Fischer Verlag, 1912. Royal 8vo. Volumes 1 and 2 (i.e. the entire year) of "Die neue Rundschau, 1912" present, in the original half vellum bindings with gilt title to spines. A few pencil annotations on flyleaf. An exceedingly nice and clean set. The true first printing of Thomas Mann's masterpiece, "The Death in Venice". Contrary to what is generally believed, the actual first appearance of "The Death in Venice" was not the extremely scarce de luxe-edition that appeared in 100 numbered copies in 1912. In fact the work originally appeared (and in its entirety) in the October and November issues (i.e. in the second volume, on pp. 1368-1398 + 1499-1526) of "Die Neue Rundschau", 1912.Simultaneusly with this first appearance, Poeschel und Trepte in Leipzig were preparing the luxury edition of the work for Hans von Weber's Hyperionverlag in Munich, as one of his "Hundertdrucke". Probably due to the controversial theme of the work, Thomas Mann was hesitant to immediately handing over the manuscript to his regular publisher S. Fisher for him to publish it directly and had settled on the bibliophile edition already before finishing the work. He did give Fischer the work to publish, though, and thus it came to appear both in Fischer's "Neue Rundschau", over two months, and with Weber's Hyperionverlag. While the first part of the work was being published in "Die neue Rundschau", the luxury edition was being prepared, and in the end, the luxury edition was only issued (shortly) after the second and final part had appeared in "Die neue Rundschau" in November 1912. Shortly after the famous luxury edition, in 1913, Fischer published the first trade edition in book form. By 1924, 50.000 copies of the work had appeared in this form. Thomas Mann's disturbing masterpiece, probably the most famous story of obsession ever written, is considered one of the most important literary productions of the 20th century., 1912, 0, Berlin: S. Fischer, Verlag, 1913. Very Good. Signed by Thomas Mann on the title page. First trade edition, eighteenth printing. 145, [3] pp. Publisher's quarter vellum over marbled paper-covered boards, spine label blocked in turquoise with gilt lettering. In the original German. Very Good with rubbing to marbled paper, light wear, small stain to fore edge. An uncommon signed copy of one of the author's best-known works with strong homoerotic themes., S. Fischer, Verlag, 1913, 3<
