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ПОРТРЕТ УМЕТНИКА У СТАРОСТИ : (ВЕНЕЦИЈАНСКИ СУСРЕТ ГУСТАВА ФОН АШЕНБАХА И КАРЛА ГУСТАВА ЈУНГА)
Кнежевић, Jасмина
In this paper we have tried to analyse the life of an esteemed elderly writer, Gustav von Aschenbach, a character in the controversial novel by Thomas Mann, Death in Venice, through the lens of Jung’s analytical psychology. Starting from the published lecture by Carl Gustav Jung “The Turning Point of Life”, we have tried to find the roots of Jung’s core concepts in Mann’s novel. This is related to Jung’s teaching on the individuation process, in which the Persona and the Shadow appear as the key concepts, which we also ascertained in the psychological process experienced by Mann’s character, Gustav von Aschenbach, on the cusp of his sixties. As a descendant of soldiers, judges and administrative clerks, dominantly characterised by strict discipline, von Aschenbach expresses the same trait in the sphere of his artistic work. His constant and unvarying rhythm of life, years later, will subtly turn into a restraint. At the age when he is supposed to be at the peak of his physical and creative powers, he suddenly falls ill, which is unmistakably a sign that his body is no longer able to cope with the strain imposed by the mind. The aforementioned “turning point of life” in the case of von Aschenbach happens around the age of 35-40, which, according to Jung, is the period of deep and peculiar changes in one’s soul, preparing us for old age. In old age, we again immerse ourselves in the unknown, while our Persona meets our Shadow. Von Aschenbach, however, ignores the first warning signs, suggesting that a turning point is necessary. A decade and a half later, the process of individuation starts in him, insinuating the discomfort stimulated by a vision of a foreigner from far away, creating in von Aschenbach an irresistible desire to set off on a long journey. His journey will have a dual character: physically, it will take him to Venice, but that will primarily be a spiritual journey on which he will meet his own Shadow, the archetype of his mother, who brought her fierce and wild temper into the family, that could not stand any restraints. A deeply suppressed longing for freedom that will essentially reflect in the sphere of art will raise the issue of this unfathomable and not easily interpretable field of human creative work. Von Aschenbach’s considerations of art will climax after his encounter with a Polish boy characterised by ideal physical beauty, called Tadzio. His liberated Shadow will feed on a one-way archetypal relationship based on the attractive, mutual strength of youth and old age, which, in theory, will equally absorb from him: the first one experience and wisdom, the second one the very life. The socially unacceptable, one-way homoerotic form of that relationship, through which the morals of an artist will be questioned, along with the nature of creative work, fear of old age and vagueness of those representing the artistic vocation, but also the powerlessness of the Little Demiurge before the magnificent power of the Great, will be amnestied by von Aschenbach’s death.
У раду смо покушали да сагледамо животни пут уваженог, остарелог књижевника Густава фон Ашенбаха, јунака контроверзне новеле Томаса Мана, Смрт у Венецији, у светлу Јунгове аналитичке психологије. Јунгове постулате, изложене у предавању „Жи- вотна прекретница”, применили смо на душевне процесе који су обузели Густава фон Ашенбаха на прагу шесте деценије живота. Акценат је био на процесу индивидуације који, посматран у ужем смислу, по Јунгу доминира другим делом човековог живота. У том периоду долази до кризе свесног става и својеврсног обрачунавања са архетип- ским фигурама Персоне, Сенке, Аниме, што субјекат захваћен процесом индивидуаци- је води ка уцеловљењу, односно Сопству / Јаству, које представља јединство свесне и несвесне личности. Обревши се на том путу, уз помоћ „помагача” који ће у психичком свету фон Ашенбаха представљати поменуте архетипске фигуре, доћи ће до кризе све- сног става током које ће се проблематизовати морал уметника, природа стваралаштва, страх од старости и недоречености представника уметничког позвања, али и немоћ Малог Демијурга пред величанственом моћи Великог. Интимна драма уваженог умет- ника биће амнестирана његовом смрћу.
srpski
2024
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Thomas Mann, Death in Venice, Carl Gustav Jung, individuation, old age, death, Shadow, archetype
Томас Ман, Смрт у Венецији, Карл Густав Јунг, индивидуација, старост, смрт, Сенка, архетип.