1、 Introduction:

In depth exploration of Agamben's posture theory in the field of film aesthetics, it is pointed out that in the late 19th century, the Western bourgeoisie lost their natural posture, and posture is the authenticity and subjectivity of bodily behavior presentation. Forrest Gump showcases the pursuit of disappearing postures in the field of aesthetics by analyzing the dances of Duncan and Dakilev, Proust's novels, and youth style poetry. He particularly emphasizes the importance of film as a form of posture art, believing that the essence of film lies in the medium of posture, rather than images. In Agamben's theory, posture is a reflexive exercise of the medium, transcending the binary opposition between purpose and means, and pointing to the field of the relationship between self and other things. In addition, Thomas Mann's "Death in Venice" was mentioned as a typical text of writing posture, in which the portrayal of character posture became the key to the work, demonstrating the visibility of media in specific aesthetic contexts.

2、 The embodiment and visualization of death and beauty

Death in Venice "explores the complex relationship between the artist's aesthetic ideals and physical desires through Gustav Asenbach's same-sex love for the beautiful boy Tacho. In the novel, the combination of death and beauty becomes the core narrative, reflecting the aesthetic sentiment of Europe at the end of the century. Thomas Mann displayed the artist's downfall and destruction under the temptation of aesthetic illusions through the parallel love between the plague and Achenbach. Tacho's body and posture become symbols of the combination of beauty and death. The two postures at the end of the novel, on the one hand, reinforce Ascenbach's experience of desire, and on the other hand, point to the end of death. Achenbach's visual perception of Tacho not only evokes memories of classical art, but also forms an intertextual relationship with ancient Greek mythology and philosophy. Tacho's standing posture against the backdrop of the sea reminded Achenbach of classical sculpture and the concept of beauty, but his desire for love did not sublimate and instead fell deeper into a trance. The gestures and titles of Taqiu become the medium of death at the end of the novel, revealing the ultimate union of beauty and death.

3、 Silent love and pure media

Thomas Mann portrayed the combination of beauty and death through the posture of Tacho in "Death in Venice", emphasizing the central role of visual perception in posture writing. Tacho became a medium of cultural memory in the gaze of Achinbach, triggering experiences of aesthetics and desire, but lacking physical contact and verbal communication. Ashinbach's experience of love and desire mainly takes place in his heart and dreams, rather than through verbal expression. Scholars' interpretations of this silent love include sexual taboos, artist narcissism, and special love patterns. In the novel, Achenbach attempted to converse with Tacho, but ultimately gave up verbal communication due to his thirst for "intoxication" and chose to immerse himself in an unattainable desire for love. Posture has become a medium for expressing love and desire, surpassing its communicative function and pointing to the characteristics of human existence as a medium. Agamben's posture theory emphasizes the intermediary nature of posture rather than communicative purposes. The posture performance in the novel showcases the possibility of expressing love and desire, rather than eliciting communication. Tacho's smile and posture embody the characteristics of love and deadly temptation, while Ascenbach's posture demonstrates his fascination with Tacho and his pursuit of beauty. In the ending of the novel, the postures of the two become a media event that combines beauty, desire, and death, showcasing the possibility of destruction and media in love.

4、 Conclusion

Death in Venice "uses the posture of Tacho to evoke Achenbach's memory of the beauty of ancient Greece, combining artistic aesthetics with sexual impulses, and showcasing the connection between love and death. Posture forms a network structure in text, connecting ancient Greek art, mythology, and philosophy of desire. In novels, love and desire rely on visual perception, and posture serves as a medium to express love and desire. Agamben's theory of posture provides a new perspective for understanding works, and the performance of posture becomes a medium of poetics, exploring the image production and meaning generation of artistic forms.