The Magic Mountain
music and Mark Lanegan’s contingent aesthetics in the tradition of Thomas Mann
DOI:
https://doi.org/10.26512/cerrados.v34i69.60171Keywords:
Thomas Mann, Mark Lanegan, Music, Comparative Literature, Philosophical AestheticsAbstract
This article presents an interdisciplinary reading of The Magic Mountain (1924), by Thomas Mann, with music as its aesthetic, philosophical, and existential axis. In the chapter “Fülle des Wohllauts” (Abundance of Harmony), music appears not only as a narrative motif but as a means of exploring temporality, melancholy, and the human condition itself. The work of Mark Lanegan — particularly the memoirs Sing Backwards and Weep (2020) and Devil in a Coma (2021), along with his solo musical output — is incorporated as a contemporary interpretive lens, offering new perspectives on introspection, suffering, and artistic transcendence. The connection between Mann and Lanegan reveals how both transform the experience of pain into aesthetic expression: Mann through literary language, Lanegan through musical and autobiographical creation. Grounded in Nietzschean and Schopenhauerian thought, the analysis shows how music interlaces literature, philosophy, and contemporary sound creation, establishing a fertile dialogue between classical tradition and modern art.
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References
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SHUBALY, Mishka. Entrevista concedida a Ennio Martins de Oliveira. 21 out. 2025.
COQUEMALA, Luisa de Quadros. Entrevista concedida a Ennio Martins de Oliveira. 21 out. 2025.
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