By Thomas Mann
Denna bok kommer att växa med tiden och bli läst av generationer?, skrev en tysk recensent när Thomas Manns debutroman Buddenbrooks kom ut 1901. Boken erövrade världen och bidrog starkt until att Thomas Mann tilldelades nobelpriset 1929.
Romanen skildrar en familjs utveckling below fyra generationer från köpmän until konstnärer. Den utspelas i Lübeck, den gamla hansastaden, som här lever upp med sin hamn, sina gator, torg och idylliska omgivningar.
Thomas Mann härstammade själv från en gammal köpmanssläkt i Lübeck och hans roman bygger i stor utsträckning på hans egna upplevelser. Den smärtsamma slitning som han hade känt inom sig mellan faderns trygga borgerlighet och moderns konstnärstemperament speglas i bokens konflikt mellan livskraftiga vardagsmänniskor och ömtåliga konstnärsnaturer.
Därför är Buddenbrooks också mycket mer än en berättelse om en högborgerlig släkts öden. Den är liksom Thomas Manns hela författarskap ett slags andlig självbiografi.
Nu kommer detta mästerverk i en efterlängtad manhattan svensk översättning (den tidigare är från 1904 och har sedan dess reviderats vid ett par tillfällen). En av höstens stora litterära händelser!
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Extra resources for Buddenbrooks
Technicality A few weeks later, a visit to two museums, first the Crafts Council Gallery and then the Design Museum in London, was to enter two exciting but separate worlds. In the Crafts Council Gallery, most of the exhibits were by women while the bulk of what was on display in the Design Museum were machined objects by men. To put it baldly, it appeared that the term ‘design’ was reserved for objects that men liked creating – largely machined objects – while the term ‘craft’ was bestowed on handcrafted work, much of it as far as the Gallery was concerned textile crafts, an area dominated by women.
Of the 29 people remaining – a massive 73% of those interviewed – all thought that there were differences between the visual creations of men and women. Interestingly, many of the differences discussed echoed differences identified in the studies comparing children’s and young people’s drawings. So common themes related to the male and female use of straight vs. round lines; their relative emphasis on three-dimensionality and functionality and in terms of underpinning themes, the depiction of males vs.
The first, by Kerschensteiner in Germany in 1905, compared boys’ and girls’ drawings and produced the interesting finding that boys’ drawings were more realistic than the girls’. Then, the Japanese study headed by Iijima in 2001 found that the boys were more likely than the girls to draw motifs arranged in piles, three-dimensionally or from a bird’s eye view (more on these studies below). So, while the boys favoured the realistic portrayals of objects, the girls preferred less realism, and favoured organising subjects in rows.