REA's MAXnotes for Thomas Mann's Death in Venice
MAXnotes offer a fresh look at masterpieces of literature, presented in a lively and interesting fashion. Written by literary experts who currently teach the subject, MAXnotes will enhance your understanding and enjoyment of the work. MAXnotes are designed to stimulate independent thought about the literary work by raising various issues and thought-provoking ideas and questions.
MAXnotes cover the essentials of what one should know about each work, including an overall summary, character lists, an explanation and discussion of the plot, the work's historical context, illustrations to convey the mood of the work, and a biography of the author. Each chapter is individually summarized and analyzed, and has study questions and answers.
"synopsis" may belong to another edition of this title.
REA’s MAXnotes is an insightful series of literature study guides covering over 80 of the most popular literary works.MAXnotes study guides are student friendly and provide all the essentials needed to prepare students for homework, discussions, reports, and exams. Our MAXnotes for Thomas Mann’s Death in Venice study guide includes an overall summary, character lists, explanation and discussion of the plot, overview of the work’s historical context, and a biography of the author. Each section of the work is individually summarized and includes study questions and answers. Our Thomas Mann’s Death in Venice MAXnotes study guide is a handy resource when preparing for exams or doing homework, and it makes a great companion to the original work. The Thomas Mann’s Death in Venice MAXnotes is also an invaluable resource for English teachers who are teaching the original work and need a refresher. Each MAXnotes includes topics for term papers with sample outlines. About the Author:
Our stories begin long before we are born, and contain more than we can ever know. I have told the story of my early years in the book Stealing Fire: A Boyhood in the Shadow of Atomic Espionage, which will be published by Ad Infinitum Books in 2009. But when I look back, I find myself asking, “Was that really me?” If the reader hears my voice in these printed words, it is for her to say.
I first became interested in the literature of animals around the end of the 1980's, not terribly long after I had obtained my Ph.D. in German and intellectual history. I was feeling frustrated in my search for an academic job and even study of literature. By accident, I came across an encyclopedia of animals that had been written in the early nineteenth century. There, without any self-consciousness, was a new world of romance and adventure, filled with turkeys that spoke Arabic, beavers that build like architects, and dogs that solve murders. Within a few months, I had junked my previous research and devoted my studies to these texts.
Today, I shudder how nervy the switch was for a destitute young scholar, who, despite one book and several articles, had not managed to obtain any steady job except mopping floors. But soon I had managed to publish two books on animals in literature, The Frog King (1990) and The Parliament of Animals (1992). Around 1995, I founded Nature in Legend and Story (NILAS, Inc.), an organization that combines storytelling and scholarship. It was initially, a sort of rag-tag band of intellectual adventurers who loved literature but could not find a niche in the scholarly world. We put together a few conferences, which generated a lot of excitement among the few who attended, but little notice in academia or in what they sometimes call “the real world.”
From fables and anecdotes, I moved to mythology, and published The Serpent and the Swan (1997), a study of animal bride tales from around the world. This was followed by many further publications including an examination of the darker side of animal studies, Animals in the Third Reich (2000), and a sort of compendium, The Mythical Zoo (2002), and a cultural history of corvids entitled Crow (2003). At the moment I am finishing up a history of the famous ravens in the Tower of London.
When I embarked on the study of animals in myth and literature, even graduate students did not have to mention a few dozen books just to show that they had read them. In barely more than a couple decades, the literature on human-animal relations has grown enormously in both quantity and sophistication. NILAS, I am proud to say, has become a well established organization, which has sponsored two highly successful conferences together with ISAZ.
But as the study of animals, what I like to call “totemic literature,“ becomes more of a standard feature of academic programs, I fear that something may be lost. It is now just a little too easy to discourse about the “social construction” and the “transgression” of “boundaries” between animals and human beings. Even as I admire the subtlety of such analysis, I sometimes find myself thinking, “So what?” Having been there close to the beginning, part of my role is now to preserve some the sensuous immediacy, with that filled the study of animals in literature when it was still a novelty. That sort of “poetry” is not simply a luxury in our intellectual pursuits. With such developments as cloning, genetic engineering, and the massive destruction of natural habitats, we face crises so unprecedented that traditional philosophies, from utilitarianism to deep ecology, can offer us precious little guidance. The possibilities are so overwhelming, that we hardly even know what questions to ask. But neither, I am sure, did the fugitive who once encountered a mermaid in the middle of the woods.
For the last seven years or so
"About this title" may belong to another edition of this title.
Book Description Research & Education Association, 1996. Paperback. Book Condition: New. Bookseller Inventory # DADAX0878910107