In this paper, the author examines the concept of "demonic" in Thomas Mann’s novel, Doctor Faustus, under a historical and philosophical perspective. The demonic represents Mann’s attempt to interpret the German history and its tragic turn in 20th century through the fictional mask of the main character’s life, the composer Adrian Leverkühn, who, as Faust before him, made a deal with the devil, losing his soul in exchange for genius and success. The work proceeds from a comparison between Mann’s…
Read moreIn this paper, the author examines the concept of "demonic" in Thomas Mann’s novel, Doctor Faustus, under a historical and philosophical perspective. The demonic represents Mann’s attempt to interpret the German history and its tragic turn in 20th century through the fictional mask of the main character’s life, the composer Adrian Leverkühn, who, as Faust before him, made a deal with the devil, losing his soul in exchange for genius and success. The work proceeds from a comparison between Mann’s character of Satan and the theologian Paul Tillich’s idea of demonic expressed in his 1926 essay Das Dämonische. Ein Beitrag zur Sinndeutung der Geschichte, where it is interpreted as a dialectic and ambiguous concept: not merely negative, but also positive in its existing. Tillich’s concept of demonic is strongly connected to Mann’s, who elected music as a mean to express the demonic, precisely for its supreme ambiguity: on one hand it is mathematically structured, on the other it voluptuously attracts the listener to an inarticulate ancient chaos.
