| dc.description.abstract | It is widely believed that the “disjuncture” of Thomas-Mann's work
between high modernism and social (critical) realism is due to the efforts of
certain Marxist critics, most notably György Lukács, to find in modern Western
literature a phenomenon that reflects their understanding of the progressive role
of realism in art; and that proves the rightness of certain aesthetic concepts.
However, if we leave the presence of social criticism in the novels of the writer
in the background and take the aesthetic and aesthetic-philosophical foundations
of artistic objectivity as the starting point of the analysis, it becomes clear that the
issue is far more complex. The present paper considers Thomas Mann's first
novel, The Buddenbrooks, precisely as a dialectical unity of subjectivist aesthetic
grounding and objectivist-realist artistic realization; as a non-modernist text by a
writer with a formed modernist aesthetic disposition. | en_US |
