Thomas Mann’s novel „Joseph und seine Brüder“ implies a theology working with a concept of God which is deeply influenced by Max Scheler’s lecture „Die Stellung des Menschen im Kosmos“. God is seen as someone whose development depends on the spiritual efforts of mankind.

Around 1900 the relation between religion and sexuality became a favorite subject of art. Munich was the place where some of the most relevant works of art where produced at this time. In 1905 the opera “Salome” was composed by the Munichborn Richard Strauß, based on Oscar Wilde’s drama and dealing with the relation between sexual love, religion and death. In quite a different way Oscar Panizza’s “Liebeskonzil” is concerned with the same topic. Here it is not the decadent court (...) of Herodes with John the Baptist as religious prophet and Salome falling in deadly love with him but the oversexualized Vatican at the time of Alexander Borgia punished by God with the syphilis. Religion and sexuality also form the background of the Wedekind’s unfinished “Ella”, an early stage of the development of his famous “Lulu”, and they play a central role in Thomas Mann’s novel “Gladius Dei”, a byproduct of his drama “Fiorenza”. Here sexuality and art are represented by the Florentine court of Lorenzo de’ Medici whereas the friar Savonarola is the representative of the religious opposition. (shrink)

The Austrian writer Stefan Zweig was a staunch cosmopolitan who, after the catastrophe of World War I, campaigned for peaceful cooperation between the peoples of Europe. He considered the biography of Erasmus of Rotterdam, a definite enemy of every kind of fanaticism, to be exemplary. In his novel “Triumph und Tragik des Erasmus von Rotterdam” (1934) he portrayed him as an antithesis to Luther, whose religious radicalism combined with nationalistic tendencies he detested. Zweig contrasted the cosmopolitan humanism of Erasmus with (...) the German Reformation of Luther. Under the impression of the political seizure of power by the National Socialists, which forced him to emigrate, Zweig's interest in the history of the Reformation in Europe grew. After “Maria Stuart” (1935) he saw in his novel “Castellio against Calvin” (1936) in Castellio an heir to Erasmus, who defended human freedom of conscience against the repressive theocratic Geneva regime. For Zweig, Calvin became a tyrant who in many ways resembled Hitler. (shrink)