ABSTRACT

From Winckelmann and Platen to Goethe and Mann, the cultural narrative of the German ‘Italian journey’ spins a highly intertextual web — one often embedded within a subtext of homoerotic interests. This article expands on the homoerotic iconography of Thomas Mann’s Der Tod in Venedig (1912) by comparing the novella’s visual language to the fin-de-siècle Sicilian photographs of Wilhelm von Gloeden. As both works play into a long-running codification of homosexual desire through the Italian imaginary of classical and Renaissance art, a comparative reading delves into tropes of pederasty, exoticism, and nostalgia.

摘要

从 Winckelmann 和 Platen 到 Goethe 和 Mann，德国“意大利之旅”的文化叙事编织了一个高度互文的网络——一个经常嵌入同性恋兴趣的潜台词中。本文通过将中篇小说的视觉语言与威廉·冯·格洛登 (Wilhelm von Gloeden) 的世纪末西西里岛照片进行比较，扩展了托马斯·曼 (Thomas Mann) 的《维尼迪格( Venedig)》 (1912)的同性恋肖像。由于这两部作品都通过意大利对古典和文艺复兴时期艺术的想象，对同性恋欲望进行了长期的编纂，因此比较阅读深入探讨了猥亵、异国情调和怀旧的比喻。