Morte em Veneza de Visconti como adaptação queer de Mann
Bibliographic Data
| ID | 21810445 |
|---|---|
| Authors | Ana Luisa Barbosa Rodrigues (0000-0002-6080-0937), Gustavo Matheus Pires (0000-0002-0450-9467), Cynthia Beatrice Costa (0000-0002-3063-0121) |
| Year | 2025 |
| Volume | 39 |
| Issue | 1 |
| Pages | 191-207 |
| Publication date | 2025-07-17 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Revista Ártemis (JOURNAL) |
| Journal identifiers | ISSN: 1807-8214 • E-ISSN: 2316-5251 |
| Publisher | Universidade Federal da Paraíba (PUBLISHER • BR) |
| DOI | 10.22478/ufpb.1887-8214.2025v39n1.74779 |
| OpenAlex | W4413010082 |
| Language | PT |
This article analyzes the film translation of the novella Death in Venice (1912), written by Thomas Mann, directed by Luchino Visconti (1971), focusing on the transposition of queer aspects from the pages to the screen.Mann's novella depicts Gustav von Aschenbach and his fascination with a young boy called Tadzio, oscillating between aesthetic admiration and homoerotic desire.Generally considered a successful adaptation from an artistic point of view, the film by the Italian director introduces some significant changes, including Aschenbach's profession (from writer to composer)
Art · Humanities · Queer · Sociology · Gender Studies · Italian Fascism and Post-war Society
| Highly cited | No |
|---|