니체의 데카당스 개념과 토마스 만의 「트리스탄」

다국어 초록 (Multilingual Abstract)

This paper discusses first Nietzsche’s critique of modernity and especially, the decadence and then examines how it is represented in Thomas Mann’s early work ‘Tristan’.
According to Nietzsche, the relationship between life and art in the modern ages enters a new phase. The art is regarded as a matter of leisure and recreation in the modern ‘era of work.’ People just look for entertainment and emotion in the art and ultimately hope to overcome their weariness of life through aesthetic sphere. The split culture of decadence urges the artist to do everything possible to satisfy the wishes and expectations of the audience. The modern artist is aware that his success depends on the fulfillment of their desires, and makes an effort to maximize the effect of his art. Nietzsche considers Wagner the representative artist of decadence. His art attempts only to irritate and intoxicate the nerves of the audience. Therefore Nietzsche call him “the master of hypnotic trickery.”
In Thomas Mann’s “Tristan” two principles are represented by the two main characters. The novelist and modern decadent dilettante Spinell is isolated from life and addicted to irresponsible aestheticism. He despises the bourgeois values and wants to avenge himself on life for its rejection of him. The Hanseatic merchant, Kloterjahn shows the vital life force as the representative of bourgeois. Gabriele between the two principles really has an artistic nature; however, her marriage to Kloterjahn was an effort to suppress her desires. Spinell tries to change Gabriele’s past to fit his picture of decadence and his contempt of reality. Spinell succeeds in exposing the hidden ambitions and aspirations in Gabriele’s personality. He persuades her to play the piano against the doctor’s orders. She plays on the piano Wagner’s “Tristan and Isolde”, which is an ecstatic experience of seduction to intoxication, eroticism and death, and leads to her death. This story is a critique of decadence and amoral aestheticism and has the character of Thomas Mann’s self-criticism at the same time.

참고문헌 (Reference)

• 1 Mann, Thomas, "Große kommentierte Frankfurter Ausgabe. Werke-Brief-Tagebücher. Bd. 2.2. Kommentar zu Thomas Manns frühen Erzählungen; Bd. 14.1. Essays I. 1893-1914" Frankfurt am Main 2004
• 2 Mann, Thomas, "Gesammelte Werke in dreizehn Bänden" Frankfurt/M 1974