904 Reviews it iswell worth our attention. This is a lively and insightful work of criticism, scholarship, and creative translation. University of California, Los Angeles Kathleen L. Komar Apokrypher Modernismus: Thomas Mann und die klassische Moderne. Ed. by Stefan Bornchen and Claudia Liebrand. Paderborn: Fink. 2008. 333 pp. 39.90. ISBN 978-3-7705-4673-2. 'Apocryphal Modernism* as a label forThomas Mann seems like a reading against the grain'. The deliberately counter-intuitive titlemay cause surprise among the agreeably non-fashionable majority ofMann scholars, yet nevertheless has a lot to offer.This essay collection can be read as an innovative addition and not simply as a mannered counter-reaction to Riidiger Gorner's Thomas Mann: Der Zauber des Letzten (Darmstadt: Wissenschaftliche Buchgesellschaft, 2005; reviewed inMLR, 102 (2007), 896-98). Thomas Mann is seen not only as a 'Spatling der Zeiten', but also as an author of classical modernism and consequently as an author of the twentieth-century avant-garde. Notions of lateness and endings are followed by new beginnings; arriere-garde and avant-garde are inextricably intertwined. The ingenious neologism Apokrypher Modernismus tries to highlight the subtle layers ofmodernism inThomas Mann's writings, fromwhich new strands of research can be excavated. The aim of the underlying concept of avant-garde in thevolume is at least twofold: a plausible connection between Thomas Mann's literarywritings and the experimental avant-garde is established and given unprecedented emphasis. Moreover, avant-garde forms of literary theory and methodologies come into play as a new research agenda. This essay collection has high methodological ambitions and incorporates relevant developments in literary theory into Mann scholarship, from post structuralism and deconstruction to cultural studies, gender studies and inter sections between literature and politics, economy, and ethnography. The opening essay by Bernd Hamacher turnsGorner's Zauber des Letzten into a 'Zauber des Ersten' and 'Zauber des Nachsten'. His reflections on Thomas Mann as an author of the literary avant-garde from the perspectives of reception and production and Mann's inherent understanding of an epigonal 'Genieasthetik' are original and cast a new light on Mann's ingenious transformations of his literary idols, especially Dostoevsky. An interesting, but at times far-fetched, reading of Mann as a postmodernist is provided byMichael Butter.While literary strategies of postmodernism are undeniably applicable toDoktor Faustus, Butter's bold as sertion thatMann is neither a realist nor an author on the verge between realism and modernism and his argument forMann's neorealism are problematic and cannot convince as a whole. Stefan Bornchen's in-depth reading of Buddenbrooks through the lens of cultural theory focuses on the two school scenes, emphasizing the themes of phallocratic law and order, emergent chaos, ambivalence of the signifiers, and a carnivalesque undermining of the symbolic order, which result in MLR, 105.3, 2010 905 amodern crisis of representation. Oliver Kohn provides a rewarding interpretation ofWalsungenblut as a paradigm of 'ApocryphalModernism'. He gives a fascinating account of the concatenated discourses of anti-Semitism and aesthetic decadence, which ismainly based on a literal reading of Nietzsche's Antichrist, where Jews are depicted as theatrical decadents and life-affirmingnon-decadents alike. Kohn then focuses onMann's modernist innovation in the incest scene, which breaks the Freudian fatherly law by following a late Romantic, theatrical father's imperative: Wagner's incestuous mythical act of foundation ismimicked and results in an act ofmodernist fiction.Claudia Liebrand presents a substantial interpretation of Lotte inWeimar with a threefold agenda. She firstfocuses on Mann's wordplays with his signifiers and shows a disturbingly close connection toKafka andWalser. As a second step, she examines the complex interplay of individual, collective, and cul turalmemory ofGoethe. Thirdly,Mann's novel is explored on the level of genre?a virtual etude on facts and fiction between Alexandrianism and avant-garde. Hans Ulrich Gumbrecht draws analogies between the alluring atmosphere, the shiftingweather conditions, and sensual moods inDer Tod inVenedig and the psy chological self-reflection of the protagonist. He strongly argues for the?hitherto underrated?significance of the aesthetic category of 'Stimmung' both in general and in relation to the dramatic development ofmoods in the novella. His observa tions end on a slightly anachronistic twist, as Thomas Mann's...
Read full abstract