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A carregar... Mephistopor Klaus Mann
German Literature (94) Books Read in 2016 (398) Top Five Books of 2016 (154) » 7 mais A carregar...
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Ainda não há conversas na Discussão sobre este livro. آثاری که دربارهی آلمان نازی پیش از جنگ جهانی صحبت کرده بودند و خونده بودم، برای نویسندگانی بود که بعد از جنگ جهانی دست به تألیف اثر زده بودند... اما جالبی این رمان اینه که در 1936 نوشته شده و آلمان نازی رو پیش از جنگ جهانی دوم - که سوسیال ناسیونالیسم آلمان رو به مسئلهای بینالمللی بدل کرد - بررسی میکنه و درواقع به همین علت بیشتر یک مخالفت سیاسی داخلی ازش به مشام میرسه تا مخالفت با یک جریان بزرگ و شیطانی جهانی! خوانش این رمان یه کم صبوری میخواد... نمیدونم متن اصلی اینگونه است یا در ترجمه بد ترجمه شده، اما استفادهی زیاد از ضمایر، مخصوصاً در ابتدا که هنوز عادت ندارید روش متن، میتونه براتون گیجکننده باشه! همچنین به نظرم نبود ضمایر سوم شخص مذکر و مؤنث تو فارسی میتونست توسط مترجم یه کم تعدیل بشه، تا خوانندهی فارسی رو گیج نکنه. تو همون دوتا فصل اول هم با نامهای زیادی بمباران میشین که خیلی ترسناک و گیجکننده است، اما بعد از دو، سه فصل کم کم براتون خوانشش آسونتر و بلکه لذتبخش میشه. Klaus Mann's best-known novel, written in exile in 1936 and attacking the prominent figures in the arts in Germany who had chosen to stay and work with the Nazis despite being aware of how evil the regime actually was. Although Mann maintained that the novel was about types, not individuals, and that it should not be read as a roman à clef, everyone immediately spotted that the central character, the ambitious actor-manager Hendrik ("with a d") Höfgen, had at least a 90% overlap in background, career and appearance with the author's ex-brother-in-law Gustaf ("with an f") Gründgens. Like the real Gründgens, the fictitious Höfgen was a personal friend of Hermann Göring and his second wife, who appointed him Generalintendant of the Prussian State Theatre; was famous for playing Mephistopheles and Hamlet; a blond Rhinelander; got his start in an army mobile theatre in 1917; worked in the 20s in Hamburg where he cultivated a left-wing image; married the daughter of a prominent intellectual from Bavaria, etc. etc. Details apart, there's only really one point at which the fictional and real stories diverge: Gründgens was notoriously gay, despite being married successively to Erika Mann and Marianne Hoppe (who were both notoriously bisexual...). Obviously, Klaus Mann couldn't use Gründgens' sexuality to attack him without (a) hypocrisy and (b) exposing himself to reciprocal attacks, so he invents an equally embarrassing sex-life for Höfgen with the black dominatrix Juliette, who eventually becomes such a risk to his career that he has to ask Göring to arrange for her to be deported and paid off. The borrowing of Gründgens' life-story wasn't a big deal in 1936 — Klaus Mann's books weren't being published in Germany anyway, and the actor was hardly likely to go to court in foreign countries to protest at being represented as a friend of the Nazis — but it it completely overshadowed the subsequent life of the novel after 1945, when, contrary to the dark predictions his counterpart Höfgen gets to hear in the final chapter, Gründgens was able to cash in various debts owed to him by other prominent people and resume his theatrical career in the new Germany without much of a stain on his character. It's been suggested that one of the things that prompted Mann to take his own life in 1949 was the news that a West German publisher was making plans to bring out an edition of Mephisto, which would certainly have led to Mann being involved in some very unpleasant arguments. In the event, Gründgens was able to use his considerable influence to prevent publication in the Federal Republic during his lifetime. After his death in 1963, his life-partner and adopted son, Peter Gorski, fought a legal action to suppress the novel that went all the way to the Federal Constitutional Court, which narrowly decided in his favour in 1971. It was only in 1981 that this bizarre fight between two dead men was put aside and the first West German edition appeared, by which time almost everyone who wanted one had illegally imported a copy of the Austrian or DDR edition. The result of all this is a rather mixed message: Klaus Mann is using the text of the novel to tell us that you have to pay eventually if you make a pact with the Devil, but the historical context suggests that anyone with the right connections and enough good lawyers has a good chance of wriggling out of a Faustian pact without too much trouble. All the same, Mann's palpable anger and disgust at what is going on in Germany make this a very engaging read, and for us a couple of generations later there's also a lot of interesting period detail about the German theatre between the wars. Not 100% sure how I feel about Mephisto. My initial thought was that I expected more. I kept waiting for struggles with moral dilemmas and choices. Instead, it seemed events were related and characters were introduced. In this regard the novel more resembled a play. Also, the conclusions and evaluations were present from the begining. We know the author's positions which were all too clearly revealed early in the novel. All that not withstanding, the work is well written and captures a specific time and place. Worth reading. sem críticas | adicionar uma crítica
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The United States utilizes a vast arsenal of foreign policy tools to induce, compel, and deter changes in other nations' foreign policies. As the quantity and quality of such activity increases, the U.S. "footprint" in such nations grows deeper and wider. The U.S. presence may range from a diplomatic mission to a massive invasion force. The United States may seek to use its presence to openly compel change in a regime's policies; it may employ its leverage to quietly induce policy modification; or it may use a combination of such strategies. And while the regime and citizens of one nation may welcome the United States and its largess, others may find such relationships a threat to the nation's honor and sovereignty. To the extent a deeper and broader foreign policy relationship (as measured by a U.S. military presence; U.S. foreign aid relationship; the discrete use of military force; and a substantial similarity in foreign policy preferences between the United States and another government) contributes to stability and friendship, U.S. interests are realized. But does a broad and deep military and foreign policy relationship with the United States always succeed in realizing these interests? Why would a cooperative relationship with the United States precipitate political and societal instability in the host nation? First, the U.S. relationship with the friendly or client regime may undermine the popular legitimacy and sovereignty of the government or interfere with local, political processes. Second, political ties with the United States often impact local economic conditions. Whether it is economic ties per se the United States is seeking to advance through opening markets, providing economic assistance, or promoting U.S. multinational corporation interests, or it is the economic spillover effects from a U.S. military presence, local market conditions are bound to be influenced by the actions of the world's largest economy within the local borders. Third, the local population may also be opposed to the broader U.S. foreign policy goals with which U.S. officials are seeking acquiescence or cooperation. Specific U.S. interests will also provoke antagonism as the populations of other states take exception to the ends or the means of U.S. foreign policy, and to their regime's degree of identification with such interests. On the other hand, U.S. foreign policy means and ends are intended and designed to promote positive relations and maintain stability in those nations with whom the United States seeks to foster amicable and cooperative relationships. A strong U.S. presence can promote multiple, positive conditions. First, to the extent that a U.S. presence promotes both internal and external security for a nation, it provides the protection and stability a state needs to develop economically and politically. U.S. friendship can deter interstate rivals from overtly aggressive behavior and can dissuade internal political rivals from sowing unrest. Second, to the extent a U.S. military presence or U.S. military aid alleviates the need for a government to expend resources on its own security, a regime is better able to utilize freed up resources on economic and social development that should further the nation's prosperity. Third, a U.S. military presence and military aid can stimulate the local economy and provide jobs for many nationals who are involved in businesses that contract with and supply the U.S. military, and can open avenues of opportunity for citizens to take part in educational, economic, and military interactions with the United States. Não foram encontradas descrições de bibliotecas. |
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Literair èn structureel meesterwerk. Doorheen heel het boek voelt de lezer dat de hoofdfiguur de verpersoonlijking kan zijn van de auteur zelf.
Het slot verhaalt de grote depressie van de hoofrolspeler wgs zijn schuld aan de dood van zijn vriend en het berokkende leed aan zijn naasten. Men voelt vaak de vertwijfeling, het schuldgevoel en het niet meer … terug kunnen keren. Het besef !
In het hele boek zijn we getuige van de afkeer en de walging van het fascisme en zeker in het slot voelen we ook het bekende depressieve karakter van de auteur.
We begrijpen dan ook de vlucht en zelfdoding ….
Zeer goed boek; een meesterwerk! Score : 5 28/08/23 GT ( )