Abstract

Ever since its publication in 1947, Thomas Mann's Doktor Faustus,1 his last major novel, has triggered many discussions and scholarly analyses. Evidently, the fictitious life story of Adrian Leverkühn, the genius composer who strikes an unsavory bargain with the devil, abounds in literary artifice and ingenuity, drawing to that end from a nigh bottomless reservoir of extremely variegated cultural references.2 Leaving out strictly literary analyses, most critical attention for Mann's version of the Faust myth is centered on its politico-aesthetical motifs—its allegedly strong Nietzschean-Adornian bias.3 This is understandable, not only considering Mann's vocal interest in these philosophical traditions but also...