Mann's Magic Mountain Quotes
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The Magic Mountain multiplies in the hands of its readers: every reader produces her own version.
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The Magic Mountain was designed to make its reader feel like an intellectual imposter, but in the process the reader gets an exciting chance to dissect the cultural politics of erudition.
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One reason why the aesthetic experiences of ordinary readers are less widely discussed in academic criticism is that written accounts of them are harder to come by.
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gök gürültüleri eşliğinde
‘Phenomenology’ is a term adopted from philosophy, where it describes ‘structures of consciousness as experienced from the first-person point of view’. ‘Affect’ is a term adopted from psychology, where it describes ‘emotion or subjectively experienced feeling’. In many literary studies that employ these terms, though, it is unclear why one could not just use the more straightforward
‘(description of) experience’ and ‘feeling’/‘emotion’, respectively. Often
when coming across a formulation like ‘the phenomenology of affective
states’ in literary scholarship, I wonder what is gained by using such a
phrase rather than asking more straightforwardly ‘how it feels to experience
emotions’.
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Kafam çok karıştı
Thomas Mann’s novel Der Zauberberg, known in the English-speaking world as The Magic Mountain, tells the story of Hans Castorp, a young German man who voluntarily spends seven years in a tuberculosis sanatorium in Davos in the Swiss Alps, having initially come to visit his sick cousin.
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timsah derisi çantasıyla Hans Castorp bizden, içimizden biri
Hans’s ‘krokodilslederne Handtasche’ (‘alligator valise’) (p. 11/p. 3) would be
enough to establish him as a man of wealth; if we had any doubts, we soon learn that the crocodile-skin handbag is a gift from his uncle, a ‘Konsul’; and a few lines further down we find out from a relative clause—Mann’s characteristic way of subtly conveying a telling detail by making it sound like an unimportant aside—that Hans Castorp is clad in a ‘modisch weiten, auf Seide gearbeiteten Sommerüberzieher’ (‘silk-lined [ … ] fashionably loose summer overcoat’) (pp. 11–12/p. 3).
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