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Thomas Mann is among the greatest of German prose writers, and was the first German novelist to reach a wide English-speaking readership since Goethe. Novels such as Buddenbrooks, The Magic Mountain, and Doktor Faustus attest to his mastery of subtle, distanced irony, while novellas such as Death in Venice reveal him at the height of his mastery of language. In addition to fresh insights about these best-known works of Mann, this volume treats less-often-discussed works such as Joseph and His Brothers, Lotte in Weimar, and Felix Krull, as well as his political writings and essays. Mann himself was a paradox: his role as family-father was both refuge and façade; his love of Germany was matched by his contempt for its having embraced Hitler. While in exile during the Nazi period, he functioned as the prime representative of the "good" Germany in the fight against fascism, and he has often been remembered this way in English-speaking lands. But a new view of Mann is emerging half a century after his death: a view of him as one of the great writers of a modernity understood as extending into our 21st century. This volume provides sixteen essays by American and European specialists. They demonstrate the relevance of his writings for our time, making particular use of the biographical material that is now available.Contributors: Ehrhard Bahr, Manfred Dierks, Werner Frizen, Clayton Koelb, Helmut Koopmann, Wolfgang Lederer, Hannelore Mundt, Peter Pütz, Jens Rieckmann, Hans Joachim Sandberg, Egon Schwarz, and Hans Vaget.Herbert Lehnert is Research Professor, and Eva Wessell is lecturer in Humanities, both at the University of California, Irvine.
We present the first results from a project to map Giant Molecular Clouds (GMCs) in the 12CO J=2-1, 13CO J=2-1, and 12CO J=3-2 lines using the Heinrich Hertz Submillimeter Telescope (HHT) at the University of Arizona. We mapped nearly 2.5 sq. deg of W3 and 1.0 sq. deg of W51 in the J=2-1 lines. We have begun mapping in the J=3-2 line. We achieve angular resolutions of 33″ and 24″ in the J=2-1 and J=3-2 lines with 1.3 and 0.9 km s−1 resolution.
TheCompanion to the Works of Thomas Mann is meant for readers of Thomas Mann's works who want to become familiar with the present state of scholarly discussion of his texts. We mean to address scholars, teachers, students of German or comparative literature, but we also want to include the many readers of Mann's writings in the English-speaking world who do not read German. For this reason quotations of Mann's texts were paraphrased or translated whenever it was possible without loss of meaning. Often, the German original was provided as well when the flavor of the original text made a quotation in German imperative.
We have chosen the original German texts, not the various English translations, as the basis for our discussion. Thus references are always to the German edition (the thirteen-volume edition of 1960–1974, since the new Frankfurt edition is just beginning to appear). For this reason, the titles of Mann's works are given in their original form and only translated the first time they occur in each essay. Most English renderings of Mann's texts are by the individual contributors. Some contributors have used existing translations if they were close enough to Mann's meaning.
Although we attribute equal importance to Mann's shorter narratives, we wanted to distinguish those clearly from the long novels. Publication records are often confusing. “Der Tod in Venedig,” for example, was designated a “Novelle” in its first printings. First published in the journal Neue Rundschau in 1911, it appeared in 1912 as a privately printed book (to add to the confusion: the text is a slightly older version than the one in the first printing) and in 1913 as a publicly available book with the revised text of the first printing. In 1922 it was included in a volume called “Novellen” with Mann's approval. Even though the title of this work is often quoted in italics, we decided to treat the work as a novella and place its title in quotation marks. We did the same with all the other shorter narratives, including “Herr und Hund” and “Die vertauschten Köpfe.” The latter works appeared first in book form but were subsequently included in collected volumes of stories.
