Abstract

Close to the beginning of Death in Venice, Thomas Mann sets up a relationship between aesthetic production and social context that bears strongly on the parameters of twentieth-century cultural life. After introducing his central figure, the fictive writer Aschenbach, Mann goes on to offer some exposition which, as always with Mann, is much more than exposition, since it draws attention to one of the central philosophical questions of the text: “It was a spring afternoon in that year of grace 19--, when Europe sat upon the anxious seat beneath a menace that hung over its head for months. Aschenbach had sought the open soon after tea