Mario und der Zauberer ePUB ó Mario und MOBI :º


Mario und der Zauberer [KINDLE] ❆ Mario und der Zauberer By Thomas Mann – Buyprobolan50.co.uk Mario and the Magician is one of Mann's most political stories Mann openly criticizes fascism a choice which later became one of the grounds for his exile to Switzerland following Hitler's rise to pow Mario and the Magician is one of Mann's most political stories Mann openly criticizes fascism a choice which later became one of the grounds for his exile to Switzerland following Hitler's rise to power The sorcerer Cipolla is analogous to the fascist dictators of the era with their fiery speeches and rhetoric The story was Mario und MOBI :º especially timely considering the tensions in Europe when it was written Stalin had just seized power in Russia Mussolini was urging Italians to recapture the glory of the Roman Empire and Hitler with his rhetoric was uickly gaining steam in Germany.


10 thoughts on “Mario und der Zauberer

  1. mark monday mark monday says:

    Nobel Prize laureate and fabulous anti Nazi intellectual Thomas Mann constructs a striking although rather superficial allegory about the power of fascism I’ve shelved this on my These Fragile Lives shelf but really I should have created a new shelf for it entitled These Fragile Minds So Easily Hypnotized and Led Astray The novel describes a family’s unpleasant summer spent in sweltering southern Italy Over the course of their vacation they encounter repulsive fawning towards royalty from hotel staff virulent prudishness from obnoxious suburban and provincial types and finally a bizarre stage show where a grotesue magician hypnotizes audience members forcing them to engage in various unseemly pantomimes The whole thing ends in bloodshed and hysteriaGaze upon the floating head Do as the floating head commands I loved the prose Despite this being a translated work Mann’s formal and rather byzantine writing style is front and center and that style is probably key to whether or not a reader responds to the political analysis lurking within Some can dig it while to others it may feel laborious overworked For me the ornate and opaue uality of the writing was entrancing The slowly escalating tension and dread the feeling that something awful is just about to happen was also uite appealingAt first I thought Mann’s allegory was too simplistic and that he loaded the deck in favor of the points he wanted to make The magician is pure grotesuerie a crippled little weirdo with an inferiority complex downing shots and cracking a whip straight outta some penny dreadful And of course he’s a hypnotist there can be no other explanation for why normal decent people would do as ordered there must be hypnosis involved it has nothing to do with the selfish choices that people can make all on their own andor the repulsive group think people automatically engage in that can lead to the rise of fascism Sure only hypnosis could achieve fascism cynical laughBut then I thought of Hitler and Mussolini and I wondered To my modern eyes they both seem like such weird loathsome creatures and they’d still seem like that even if I had no idea who they were or what they did Just look at them Just listen to them Ridiculous cartoonishly grotesue buffoons right outta some penny dreadful And yet they hypnotized nations The susceptibility of humankind to all sorts of monsters is so mind boggling to contemplate Maybe Mann’s way of looking at it is the only way to look at it without actually losing all faith in the ability of human beings to make positive choices “Humanity is easily hypnotized” definitely feels better than “humanity will do as it’s told no matter the cost”Anyway Mann wrote this in 1929 It did not endear him to the German government In 1939 he emigrated to the USA During World War 2 he publicly denounced Nazism and broadcasted his views monthly to Germans in German via the BBCWhat a cutie and I'm a big fan of that moustache I said earlier that the novella ends in bloodshed and hysteria That’s only partially true It also ends in a gunshot A gunshot that releases the hypnotized masses a gunshot of liberation Definitely one of the ringing endorsements for assassination that I’ve encountered on the page4 of 16 in Sixteen Short Novels


  2. BrokenTune BrokenTune says:

    Soll man »abreisen« wenn das Leben sich ein bißchen unheimlich nicht ganz geheuer oder etwas peinlich und kränkend anläßt? Nein doch man soll bleiben soll sich das ansehen und sich dem aussetzen gerade dabei gibt es vielleicht etwas zu lernen tr Should we leave when life is a bit eerie not uite harsh or a little embarrassing and ailing? No you should stay look at it and expose yourself to it there may just be something to learn from itIt is spooky when a book that was written a long time ago and comments on an impending catastrophe reflects or seems to reflect current affairs Mario and the Magician was written in 1930 and describes the rise of fascism in Italy I had no idea the novella would be about this I was intrigued by the title simply because Thomas Mann was called the Magician by his children which was not was this story was about at all But there we have it two sides of the coin what can appear charming entertaining and imaginative by some may also be used to destroy An allegory used marvellously by Mann whose grotesue magician Cipolla binds his audience by hypnotism to obey his commands and whose disrespect for the dignity of the townspeople culminates in destruction »War das auch das Ende?« wollten sie wissen um sicherzugehen »Ja das war das Ende« bestätigten wir ihnen Ein Ende mit Schrecken ein höchst fatales Ende Und ein befreiendes Ende dennoch – ich konnte und kann nicht umhin es so zu empfinden tr Was that the end? They wanted to know to make sure Yes that was the end we confirmed An end with horror a most fatal end And a liberating ending nevertheless I could and can not help feeling soAs for myself I am still in shock that I have found a work by Thomas Mann that I could connect with even if that connection is one of concerns for current events I still don't enjoy Mann's writing style much but in this instance his drawn out narrative and formal seemingly dispassionate choice of words helped to build the tension of the story


  3. Manybooks Manybooks says:

    So yes ever since I first read Thomas Mann's 1929 novella Mario und der Zauberer Mario and the Magician in a fourth year university course on 20th century German literature in early December 1988 Mario und der Zauberer has definitely been one of my hands down favourites from his from Thomas Mann's pen not only because of the presented contents and thematics but also and indeed very much strongly so since in Mario und der Zauberer Thomas Mann makes rare and appreciated use of a pretty well simple and uncomplicated well at least for him and therefore also generally easy enough to rather effortlessly understand writing style and which also in my opinion does make Mario und der Zauberer a wonderful general introduction to Thomas Mann's prose fiction for high intermediate and above German as a Second Language students who might well want to expand their literary horizons a bit but would than still likely feel rather majorly daunted by Thomas Mann's novels and even by his involved and heavily descriptive novellas such as for example Der Tod in Venedig and Tristan And with regard to the general plot line and story of Mario und der Zauberer and of course in my humble opinion the featured contents and themes are actually just like Thomas Mann's featured stylistics for Mario und der Zauberer for the most part and generally rather straight forward and not too esoteric as well as obviously also being uite overtly and openly political in scope and feel and indeed as such considerably so than much of Mann's earlier prose usually tends to be However even though Mario und der Zauberer clearly takes place in 1920s Italy and that there is a very distinct and palpable anti foreigner atmosphere being portrayed I also do not think and have actually never believed that Mario und der Zauberer is meant to be primarily an indictment of the rise of Italian Fascism and Benito Mussolini For while there most certainly is due to the distinctly Italian setting of Mario und der Zauberer also an obviously Italian scope to the story main antagonist and villain Cipolla himself is at least to and for me not only one of Thomas Mann's typically decadent and dangerously so general artist figures but eually and also simply a standard and as such also universal dictator type figure an individual who forces others to do what he is preaching demanding and pushing and with the climax of Cipolla being killed by Mario not only therefore being totally just desserts but also something Thomas Mann most certainly seems both in favour of and yes he is or rather the narrator acting as Mann's mouthpiece is than willing to understand and without much hesitation forgive A novella that is definitely a total personal favourite and perhaps even my favourite Thomas Mann piece of shorter fiction period Mario und der Zauberer is most certainly much less philosophical and spiritual and much specific time place and contemprorary issues oriented much political than much of Mann's fiction but is still and in my opinion imbued with a general universality that makes it that renders Mario und der Zauberer and thankfully so not just a mundane and repetitive roman à clef so to speak but a novella that actually transcends Italian Fascism and is of both interest and significance regarding politics and dictators in general and yes also demonstrating what needs to happen to dictators and no I will absolutely not mince my words saying that Cipolla has most appreciatively and certainly deserved his fate that Mario is a hero that dictators need to be gotten rid of by any means possible and necessary


  4. Jessica Jessica says:

    There is so much to say about this short text every sentence is layered with meaning Written under the rising spectre of fascism in 1929 it is a damning indictment of the Cartesian model of the mind and the values of the Enlightenment and suggests that human beings do not in fact want to be liberated but want to be enslaved There is the will but there is no freedom of the will Cipolla wills something but does not do it and his audience does something but does not will it It begins with the performance when he makes you wait Cipolla gives rise to the illusion that he has come a long way to be at your service; he feels your pain Whereas of course he has only been standing in the wings A man of an age hard to determinedressed for the street with a sort of complicated evening eleganceHe had a white scarf round his neck; a top hat with a curving brim sat far back on his head Perhaps than anywhere else the eighteenth century is still alive in Italy and with it the charlatan and mountebank type so characteristic of the periodCipolla makes a joke he makes his first example of his power on a member of the crowd He speaks very well his ability is in oratory and speaking rhetorically Rhetoric is by definition demagogic Mein Kampf is formulated as a response to rhetorical uestions and in the absence of deliberation demagoguery and Cipolla's ability to speak overpowers the crowd He dictates Escalating levels of humiliation of taking away people's freedoms He went ahead to eliminate the gap between the stage and the audience Cipolla breaks the border between the person representing a position and the people viewing it the priest is no longer up on the altar but goes among us staying with the mass of the audience He always has the audience on his side but he is not democratic He claims to speak for the masses and he uses wonderful phrases but they're vague and they have no meaning no content they are pure ideology It's empty but it's unbelievably powerful The next to last humiliation Signor Signora Angiolieri Cipolla induces them to replace the object of their love for each other with himself He has already debunked rationality the ego and can now direct the emotional the id In the final act he demonstrates his ability to bring erotic energy Eros and the deepest urges under his control redirecting what you would choose onto himself Fascism toppled democracies across Europe uickly and easily at the beginning of the 20th century Mann takes a psychological view of totalitarianism seeking to understand why on some level individuals enjoy relinuishing the pressure of self responsibility; the connection between willing and doing The Enlightenment is based on the rationalist model of the mind personal freedom is predicated on the ability to take responsibility for your actions 'I did it because I meant to do it and I'll take responsibility for it' is the level of maturity that is necessary to justify the individual mandate Authoritarianism cults causes have remained perversely bizarrely fascinating because human beings have a tendency to feel alienated and strained by the burden of total self determination accompanied as it is by feelings of guilt recrimination and anxiety that are the inevitable conseuence of being responsible for one's own actionsTo give oneself over to a cause to the will of another and to momentarily overcome the responsibility of the ego is not included in the Enlightenment model of the mind that informs our concepts of justice freedom of the will and rationality Ignoring this basic tendency of human psychology is incredibly dangerous and if left unchecked it will eventually seek expression in violencehttpsfigurationedellinvisibletumb


  5. ReemK10 (Paper Pills) ReemK10 (Paper Pills) says:

    I read Mario and the Magician as part of a virtual reading initiative We read as a group an interactive reading experience and a space for transatlantic conversation in times of social distancing and uarantineThere is something to be said for reading only a few pages a day to stretch this read over 5 days It was fabulous We had daily contributions from Thomas Mann scholars which enhanced our reading experienceA must read A timely readCheck out Welcome To #MutuallyMann – A virtual reading initiativehttpsmutuallymannvatmhorg


  6. peg peg says:

    I have decided to spend this extended period of isolation during the 2020 flu pandemic attempting to read and review a novel a day starting with those included in the tome SIXTEEN SHORT NOVELS edited and introduced by Wilfrid SheedToday’s novel was MARIO AND THE MAGICIAN written by Thomas Mann and published in 1931 The way the magician of the story was able to take over the minds and wills of his audience was very well written and gave me a sick feeling of repulsion but it wasn’t til I read some other reviews that I realized it symbolized the way Hitler was beginning to gain power and win over large crowds The same phenomenon can certainly be seen in political situations of today


  7. Valkan Valkan says:

    An enchanting political satire combined with Mann's vivid language that keeps you excited until the very last word of this novella


  8. Chrissie Chrissie says:

    Buddenbrooks The Decline of a Family 5 starsBashan and I 3 starsRoyal Highness 2 starsThe Magic Mountain readingDeath in Venice TBRMario and the Magician TBR


  9. John Pistelli John Pistelli says:

    What is fascism? one sometimes wonder Scholars and historians can't agree but the Twitterati knows for sure I sometimes see them post memes with slogans like the original antifa superimposed over grainy photos of American GIs in the Second World War I am old enough to have had elder relatives and friends of the family who fought in that war though and I don't think I ever heard them when they presided over my childhood at the end of the American century use the word fascism They tended instead to characterize their old enemies as Krauts and Japs As the racialized language indicates their overall political views not that any of them were especially political people would likely be characterized by the aforementioned Twitterati not as anti fascist but as in fact fascist Isn't that how their children—my parents' generation if not my literal parents—famously thought of them circa 1968?Can the fiction of the fascist era help us to understand this conundrum? Maybe some of it though probably not the works of Thomas Mann The better fiction is the stranger it is hence its dangers if used as a primary source for the historian The strongest novelists are demiurgic creating their own world than they are simply reflecting this one That principle holds especially true for Mann's famous 1929 allegorical novella of fascism Mario and the Magician Among this story's many ironies is a depiction of fascism that the contemporary reader can't help but regard as itself fascistThe story is simple Its narrator is a stately paterfamilias of a bourgeois German family who reminisces over a terrible holiday in Italy First the family was assailed by the newly nationalist spirit of the Italians under Mussolini This national pride leads to the German family's being exiled from their hotel's veranda unofficially reserved for citizens and then expelled from the hotel itself at the behest of a fellow resident paranoid over one of the children's lingering croup as if foreigners as such were a kind of viral invasion the contemporary meme lover will laugh knowingly In the fullness of her feminine self confidence she protested to the management When the same child bathes naked in the sea the fascist Italians swelled with a self important moral puritanism denounce the family and force the father to pay a fine An advertisement for a conjuror and magician named Cipolla soon appears however and the children's excitement over this entertainment promises to redeem the vacationThe rest of the novella is set at Cipolla's show The entire town turns out for the performance and duly finds itself ensorcelled by the strange magician Despite his unpropitious appearance and behavior—he is a chain smoking alcoholic with bad teeth a spinal deformity and yellow skin whose speech is full of pity for himself and insults toward the audience—he exerts a hypnotic power over the assembled townspeople He forces a man to writhe in pain by the power of suggestion; he has another man laid like a plank over two chairs and sits on his outstretched body like the incubus in Goya He mesmerizes a man's wife until she nearly follows him out of the theater When a native of Rome stands up to him he shortly forces this resistant to dance At the story's climax the magician confronts his co eponym Mario a waiter at the hotel whom the narrator's children have befriended Cipolla hails the stocky Mario ironically as Ganymede and then makes the waiter kiss him near the lips The unmanned Mario then breaks the spell and shoots Cipolla dead The narrator and family abscond with their bad memories just as police arrive and with this euivocal liberation the novella endsOn the one hand what could be clearer than Mann's political allegory? Fascist Italy is in thrall to a talented demagogue who manipulates the citizenry into sympathizing with him until they do his bidding Cipolla theorizes this peopleleader fusion in a passage surely meant to echo fascist rhetoricThe capacity for self surrender he said for becoming a tool for the most unconditional and utter self abnegation was but the reverse side of that other power to will and to command Commanding and obeying formed together one single principle one indissoluble unity; he who knew how to obey knew also how to command and conversely; the one idea was comprehended in the other as people and leader were comprehended in one anotherFascism then is overgrown nationalist pride wedded to the person of the ruler who unites in his suffering body the miseries and powers of the populace construed as ethnos So far so good—this reflects what most people think about fascism despite the disagreements and nuances of the scholars For instance though I am no scholar I do think many believe that fascism may be an epiphenomenon of mass media a political form impossible without cinema and radio How strange from this point of view that Mann in anticipation of his medievalizing composer in Doctor Faustus should represent fascism as an almost pre modern matter of stage magic even having his narrator remark Perhaps than anywhere else the eighteenth century is still alive in Italy and with it the charlatan and mountebank type so characteristic of the periodThe narrator's emphasis on the particularities of Italy is not limited to the above passage He attributes many of the difficulties he encounters to the southern temper to the emotionalism of the sense loving south He complains of Italy's weather in these terms The heat—if I may bring it in evidence—was extreme It was African He further states that such a climate does not satisfy the deeper complex needs of the northern soul Writing during Mussolini's reign but before Hitler's our German narrator if not our German author seems to understand fascism as an excess of the proximally savage Italian character Cipolla's own countenance exhibits he says a primitive melancholy That my aforementioned older American relatives who regarded their WWII enemies as Krauts were Italian by ethnicity is amusing in this context Mann's portrayal of the magician though draws from a different ideological tradition than that of reprehending Italy as Africa's European beachhead The sallow mesmerist with his long yellow fingers and his ability to seduce the youth with his charlatan's cynical lust for profit and his derisive intellectual power lodged in a grotesuely material and deformed body—who is this but Svengali and what is this but an anti Semitic archetype? Further this magician's climactic act is not only one of seduction but of implied pederastic seduction almost of Mario's forced feminizationFascism for Mario and the Magician then is not only an absolute ruler's claiming to embody and thereby control an ethno national population despite Mann's acute observations of that phenomenon In this novella fascism is also the invasion of the complex and rational European soul—of the bourgeois father—by irrational energies that are southern and eastern Oriental and African ueer and feminine To borrow from yet another meme you know who else worried about such an invasion?I don't raise these objections to the novella's obviously failed anti fascism to impugn Mann The essence of his art famously is irony and I doubt he lacked awareness of this novella's ironies If the bourgeois author was himself a devoted husband and father a stolid German he was also fatally attracted to the east and the south he also recognized the appeal of the world's Ganymedes or Tadzios and as a popular novelist he was also an entertainer enrapturing his public In other words Mann was as much the ueer southern crypto Jewish and crypto African Cipolla as he was his novella's northern souled narrator Levi B Sanchez notes at the Modernism LabBiographical details suggest that Mann turns this critical lens towards himself in Mario and the Magician Biographer Anthony Heilbut notes similarities between Cipolla and his creator Besides the obvious fact that the Mann children’s nickname for Thomas was the Magician 450 Heilbut observes that Cipolla shares many traits with Mann including a bad case of artistic insecurity and a hopeless love of young men Another artist and manifestation of Mann the narrator artificially manipulates the narrative to keep the reader’s interest in an almost identical fashion to the sinister CipollaBy giving us a narrator who complacently warns of fascism as an incursion from without Mann is really warning us—and warning himself—of a fascism from within I might compare this German authored narrative of authoritarian magic in Italy with an Italian authored narrative of authoritarian magic in Germany In his 2018 reimagination of Suspiria Luca Guadagnino portrays fascism less as a specific ideology or characteristic of any one group of people or political faction It is rather the ruthless loveless pursuit of identity and power per se as apt to manifest itself in a coven of female artist magicians as in a patriarchal right wing political party So we don't miss the point Guadagnino sets his story against the backdrop of the 1970s when a wing of the radical left children of 1968 became increasingly authoritarian and terroristic It is an old problem how not to become what we behold how not to transform into one's enemy—how to be sure anti fascism doesn't become fully indistinct from fascism itself Given our psychology with its tendencies toward projective and dichotomous thinking and given political realities which often make violent confrontation seem fated this may be an insoluble problem Perhaps every anti X is doomed by the occult law of similarities to become X; perhaps our time is better spent just not being X rather than defining ourselves against and therefore by X The strongest fiction if it is too complex to serve as historical evidence succeeds in its world making complexity by making us alert to just these flaws inherent in the soul—the human soul northern southern or otherwise


  10. ➸ Gwen de Sade ➸ Gwen de Sade says:

    I'm not uite sure what to think about this one yet It was a short but intense and rather uncomfortable read about free will and peer pressure Mann has an interesting writing style and this short novel definitely made me want to read from him


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