Abstract
Abstract Self-Justification and self-criticism mingle uneasily in Mann’s writing throughout the decade following Buddenbrooks. This is the most complex phase of his work to unravel, although perhaps for this reason not the most happy artistically. If we grasp its essentials, we have grasped not only Der Zauberberg, the first work to treat the conflicts of this period with artistic freedom and thus transcend them, but also Doktor Faustus, which returns to them to pass a final judgement, coloured by the experience of later political events which had their roots in that decade.
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