Customer Service | Help | FAQ | Report a Data Error | About
Tip: To sort articles by year…

PEP-Web Tip of the Day

After you perform a search, you can sort the articles by Year. This will rearrange the results of your search chronologically, displaying the earliest published articles first. This feature is useful to trace the development of a specific psychoanalytic concept through time.

For the complete list of tips, see PEP-Web Tips on the PEP-Web support page.

Schmukler, A.G. (1992). American Imago. XLVI, 1989: Thomas Mann's Death in Venice (1969). Harry Slochower. Pp. 255-279.. Psychoanal Q., 61:324.
Psychoanalytic Electronic Publishing: American Imago. XLVI, 1989: Thomas Mann's Death in Venice (1969). Harry Slochower. Pp. 255-279.

(1992). Psychoanalytic Quarterly, 61:324

American Imago. XLVI, 1989: Thomas Mann's Death in Venice (1969). Harry Slochower. Pp. 255-279.

Anita G. Schmukler

The author examines significant imagery in Mann's work in the light of the creative process and presents a broader, deeper perspective than those who view artistic products as simply defensive or sublimatory, and who approach characters in novels as patients in clinical practice. Slochower criticizes the latter viewpoint for not truly representing the goals of a psychoanalytic examination of literature. He emphasizes Mann's notions of the favorable social soil necessary for creative productivity, and also the artist's conflicting pulls of discipline and dissolution. Significant imaging in Death in Venice includes the color red, which reappears continually in the narrative in many conflictual contexts, and the voyeuristic impulses of looking and watching. Aschenbach's creative drives are alternately desexualized and resexualized. The author also cites an aspect of the ending of Death in Venice that has been ignored by critics: Aschenbach finally sees something that is not a projection. He acknowledges his lack of control over Tadzio; Slochower views this as an "affirmative element" in the novel. Slochower takes Kohut's study of Death in Venice a step further, underscoring that which is not merely sublimatory, but of a "nearly explosive" tension; he also explores the shift in psychic function that occurs upon examination of the "magic" inherent in the creative process.

- 324 -

Article Citation

Schmukler, A.G. (1992). American Imago. XLVI, 1989. Psychoanal. Q., 61:324

Copyright © 2018, Psychoanalytic Electronic Publishing, ISSN 2472-6982 Customer Service | Help | FAQ | Download PEP Bibliography | Report a Data Error | About

WARNING! This text is printed for personal use. It is copyright to the journal in which it originally appeared. It is illegal to redistribute it in any form.