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"Frisch, Max"
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From the Berlin journal
Max Frisch (1911-91) was a giant of twentieth-century German literature. When Frisch moved into a new apartment in Berlin's Sarrazinstrasse, he began keeping a journal, which he came to call the Berlin Journal. A few years later, he emphasized in an interview that this was by no means a \"scribbling book,\" but rather a book \"fully composed.\" The journal is one of the great treasures of Frisch's literary estate, but the author imposed a retention period of twenty years from the date of his death because of the \"private things\" he noted in it. This work now marks the first publication of excerpts from Frisch's journal. Here, the unmistakable Frisch is back, full of doubt, with no illusions, and with a playfully sharp eye for the world. This work pulls from the years 1946-49 and 1966-71 [that is 1973-1974]. Observations about the writer's everyday life stand alongside narrative and essayistic texts, as well as finely-drawn portraits of colleagues like Günter Grass, Uwe Johnson, Wolf Biermann, and Christa Wolf, among others. Its foremost quality, though, is the extraordinary acuity with which Frisch observed political and social conditions in East Germany while living in West Berlin. Distributor's website.
BOOK
Narrating a Valley in Max Frisch’s Der Mensch erscheint im Holozän: Material Agency, Rain, and the Geologic Past
The complex narrative composition of image and text in Max Frisch’s Der Mensch erscheint im Holozän discloses entanglements between humans and nonhuman entities that impact the narrative and that demand careful consideration. The story depicts the aging protagonist’s struggle with memory loss and his careful examination of the valley’s mountain formations in fear of a landslide. In this analysis, I show that both of these threats can be read as entangled with nonhuman agents. By focusing on the material dimension of the text, two central and related shifts occur: the background element of rain becomes foregrounded in the narrative, and the natural formations of the valley that are assumed to be static are revealed to be dynamic. These shifts lead to an interpretation of Frisch’s text focused on the impacts of rain and the temporal scale of the text’s geologic dimension. Approaching the text through the lens of material ecocriticism unveils the multiple agencies at play, decenters the human, and illustrates the embodied experience of climate change.
Journal Article
Farbbekenntnisse
Die Studie unterzieht Max Frischs berühmteste Romane, „Stiller“ und „Homo faber“, einer postkolonialen und intertextuellen Relektüre. Sie befragt die Texte dieses für ein Schweizer Selbstverständnis nach wie vor eminent wichtigen Autors nach ihren Entwürfen von Ethnizität, Geschlecht und Nationalität. Hierfür rekonstruiert sie die spezifischen zeitgeschichtlichen Kontexte, innerhalb derer diese Identitätsentwürfe entstanden sind, und macht im Besonderen das Analyseinstrumentarium der andernorts schon seit längerem institutionalisierten Critical Whiteness Studies fruchtbar.
eBook
Ways of not seeing: visibility, blindness, and the transparency game
PurposeTo advance understanding of transparency by problematising the motivations and strategies of a so far underexplored group: its users.Design/methodology/approachWe explore the relationship between blindness, visibility, and transparency by drawing on our analysis of Max Frisch’s experimental novel Gantenbein (1964), in which the protagonist lives a life of feigned blindness.FindingsThe accounting scholarly debate on transparency has neglected the users of transparency. We address this through a novel theorisation of transparency as a game, highlighting some of its distinctive features and paradoxes.Originality/valueBy theorising the transparency game we move beyond concerns with what transparency reveals or conceals and conceptualise the motivations and strategies of the players engaged in this game. We show how different players have something to gain from the transparency game and warn of its emancipatory limits.
Journal Article
The Devil Next Door
Rather than theoretical or abstract, above all else, this monograph endeavors to serve as a practical guide, a handbook for helping us navigate a dark terrain. It neither presumes to examine the sources of evil nor suggest radical cures. These pages strive only to continue the process of naming the signs of individual evil that we might recognize these persons before they inflict even more damage. Scott Peck says it best. “If evil were easy to recognize, identify, and manage, there would be no need for this book.” Of course, he was referring to his own pioneering treatise; given the realities of our day, the need remains as great as ever.
eBook
Masculinity in Crisis: Aging Men in Thomas Mann's \Der Tod in Venedig\ and Max Frisch's Homo faber
Reading Thomas Mann's \"Der Tod in Venedig\" and Max Frisch's Homo faber as narratives of male aging and ageism, I show that the protagonists' \"midlife crises\" are crises in representation located at the intersection of the body and socially constructed male images. As the main characters struggle with their declining bodies and the loss of status associated with aging, the close interconnection of age and gender norms and their significance for male identity formation emerge. Anticipating current scholarship in aging studies, these works reveal the performative nature of age and gender, and explore the tensions that arise where subjective, physiological, and social age meet and interfere with gender performance. In my reading, I demonstrate that the subversive potential of Mann's and Frisch's narratives lies less in their renditions of sexual deviance (incest, homosexuality), and more in the way these authors illustrate the potentially destructive effects of normative concepts of age and masculinity while tracing paths to subvert these categories.
Journal Article