Revista de Filología Alemana

Servicio de Publicaciones de la Universidad Complutense de Madrid

- Volumen 10  (2002)  - 

Texto completo en www.ucm.es/

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Fotografía  
5 
 
Sumario  
7 
 
Presentación  
ACOSTA, Luis
9 
 
Max Frisch: Tagebuch 1946-1949 y Tagebuch 1966-1971. «Literarisches Tagebuch als Kunstform»    
MARTÍ PEÑA, Ofelia
13 

Resumen: Max Frisch’s Diary 1946-1949 and the Diary 1966-1971 established a model of literary Diary where the autobiographical function, characteristic of this form, and the artistic function are both involved. In this paper there is a first part dedicated to define the several characteristics of a literary Diary. In the second part technical resources according to which Max Frisch arranges in sequences the different parts ficticious as well as autobiographical— of the first Diary 1946-1949 are analised and treated. Topical cores and spatial setting reach there a special relevance. In the third part, the second Diary 1966-1971 is analised in the same way as the first one: The text arrangement and the use of different types of letter are here specially relevant as composition elements. After analising both Diaries we are able to confirm the hypothesis we had stated at the beginning: that the Diary 1946-1949 and the Diary 1966-1971 are actually literary texts produced and created as artistic/literary works. And there is no trace of an autobiographical aim in the work neither in its specific parts. 

«Charme, zur Haltung gemacht»: lectura de un texto de Frisch desde Schiller  
BARJAU, Eustaquio
39 

Resumen: This article is divided into two main sections. The first section is aimed at studying the relations bearing between literature and philosophy. More particularly it examines the ways in which philosophy contributes to the understanding of a literary text. The focus is then placed on Max Frisch’s aphorism «Charme, zur Haltung gemacht», as seen from Schiller’s essay «Über Anmut und Würde», to confirm the points these writings have in common. Most notably, both Frisch and Schiller higlight the incompatibility between charm itself and the will to charm. In the second section Frisch’s text is examines under the philosophical categories of ‘truth’, ‘nature’ and ‘spirit’. 

Deutung und Diskretion. Zum Problem des Biographismus im Fall Bachmann - Frisch  
FLIEDL, Konstanze
55 

Resumen: The relationship between Max Frisch and Ingeborg Bachmann is extensively documented, and traces of this relationship in the texts of both authors are undeniable. But one should be cautious to not make the positivistic mistake of presuming that writers always write about their own lives – or at least women writers. It is a biographical prejudice that women are not really able to objectify their experiences, to untie oeuvre from life. In this sense, Frisch’s and Bachmann’s story has become a topic of unpleasant gossip. But literary authors themselves have always overtaken such kinds of reductive interpretations: their work produces a project of subjectivity and autobiographical discourse, and rehearses the construction of ego and vita. One’s own autobiographical narration is at heart fictional: this is shown by ‘Gantenbein’, ‘Malina’ and ‘Montauk’. But these texts also make a point that takes us beyond the postmodern «anything goes»: the fact of offensiveness. Here, the most virtual image can deeply strike the real person. In reflecting this aggression however, the literary text leads it back to itself and accepts responsibility for it. 

Eindeutige Symbolik. Zu einigen Bildern und Motiven in Andorra, Biedermann und die Brandstifter und Homo faber  
GOCKEL, Heinz
71 

Resumen: Unlike Schiller Goethe determined in Maximen und Reflexionen that the symbol as image is not to be applied to the idea which in itself is not to be associated with expression. As a consequence symbolic speech is given allegoric ambiguity by comparison. Max Frisch tends to be more on the side of Schiller. Goethe`s symbolic language more especially in Andorra, Biedermann und die Brandstifter and Homo faber is to be explicitly associated with expression. In this case the symbols used in the works clearly express the function of the image and the function of transposition to a second level of significance for the situation given in the tales: to that of the mythology. To be found as clear symbols in Andorra are the queen bees, the pole and shoe. The fire brigade choir in Biedermann und die Brandstifter refers to irreversible fate. The mythos which catches up with the homo technicus Walter Faber is that of the Oedipus. 

Du sollst dir kein Bildnis machen: la atribución de imágenes y su pernicioso efecto sobre la identidad de los personajes de Max Frisch 
GARCÍA, Yolanda
93 

Resumen: Max Frisch is not just one of the major novelists and playwrights of Swiss Contemporary Literature. His insight of human beings, and of their passions and worries, was also exceptional. That is where the universality and timeless quality of his works and literary characters stands. His own vision of human kind, though, was not an optimistic one. In his view, people live in a lonely fight to get rid of the images that other human beings, or their own selves, cast upon their identites. Because of this attribution of images, many of his characters suffer from profound identity crisis, or either drive themselves towards their own death. These are the themes, together with the theoretical analysis of the so called «Bildnistheorie», that define the contents of this article. 

Being and Time: Max Frisch’s Homo faber   
BIRTH, Monica
105 

Resumen: Time plays a central role in Max Frisch’s Homo faber. Reading the autobiographic entries that comprise the novel necessitates navigating a convoluted temporal structure. In addition, the literary and cinematographic representations, which Walter Faber, the technocratic hero of the novel, obsessively produces, constitute an attempt to arrest the passage of time in the mechanically-produced image and word. Allusions to the Biblical «Garden of Eden», the Oedipus myth, and classical art and antiquity further complicate the temporal structure of the novel. Most importantly, the novel suggests that Faber is actually incapable of understanding life or death because he lacks an authentic relationship to time. This becomes significant because Faber pens the narrative of the novel from the hospital room in which in he awaits news of his impending death. Therein lies the problem: How can a man with no relationship to time face his own mortality? The answer offered here is that Faber must give birth to himself as a human being in time. The following essay addresses this possibility by focusing on two complexes of «falls» (i. e., «Zufall» «Fall» and «Unfall»), which begin and end the «First Station» of the novel. The first complex throws Faber into a primeval, conflated, «Eden-like» temporality; the second complex features Faber’s «fall» from this original (pre)temporality into the discrete, limited, linear temporality characteristic of human experience. Thus, in the «Second Station» of the novel, Faber emerges as a human, senscient being able to face the inevitability of his death and the reality of his life in time. 

Guía interpretativa de los motivos simbólicos de Homo faber  
CORTÉS, Helena
119 

Resumen: This article is an attempt to present an exhaustive and interpretative guide to the many symbolic aspects in Max Frisch’s HOMO FABER. Although some of these symbols are very evident, others are not, and demand a very good knowledge of the Greek culture and a solid interpretation to reach the deep level of the novel. With this work we hope that the common cultivated reader might achieve an integral reading of the novel on its many levels. First we analyze the symbolic use of TIME and its many mergings with the meaning and the formal structure of the novel: Faber’s travels, the analepses and prolepses, their use and meaning. Afterwards we proceed to a counting and detailed analysis of the many symbolic aspects of the novel in connection with the Greek world —aspects that allow and confirm the possible interpretation of the novel as a modern Greek tragedy about destiny— beginning with the masculine mythological figures hiding under the main protagonist Faber (Ulisses, Agamenon, Edipus, etc.), and ending with topics such as blindness, Greek art, the placenames, etc. We also analyze the symbolic topics in relation with nature (the moon eclipse, etc.), the physical and psychological sensations (like cold and heat, trembling, etc.) and we conclude with an analysis of the symbolic value of colours (red and black) in the novel. 

Homines fabri. Doppelheld und Parallelstruktur in Max Frischs Homo faber   
HABERKAMM, Klaus
153 

Resumen: The singular of the novel’s Latin title has not stopped suggesting —even to professional readers— that it refers to Walter Faber exclusively. Johanna Landsberg Piper’s pet name for him, Homo faber, seems to support that interpretation. The word homo, however, primarily meaning a human being, also includes Johanna in this case. She herself, like Walter, is indeed a homo faber, and responsible for her own fate. Consequently, the structure of Max Frisch’s novel is entirely modelled on the pattern of two equivalent protagonists, as this study tries to demonstrate in detail. Major narrative motifs, which have thus far been considered with regard to Walter only, are actually juxtaposed by analogous ones on Johanna’s part. Walter’s changing attitude towards the «American way of life», for example, has its counterpart in Johanna’s penchant for communism —appropriately enough for a novel written and set in the 1950’s. Yet rather than functioning representationally or typologically in the narrative, these motifs prove to be individually conditioned. In both cases, they ostentatiously originate in almost parallel traumatic experiences in the early youths of both Johanna and Walter: the girl’s humiliating defeat (as she perceives it) in the sexually connotative wrestling with her brother; and the boy’s rape by the moribund wife of his math teacher, respectively. The author has made sure that these incidents are positioned in marked and corresponding places according to their significance in the structure of the Homo faber. 

El Homo faber de Max Frisch como punto de partida para el desarrollo de nuevos modelos en la literatura suiza  
HERNÁNDEZ, Isabel
179 

Resumen: Max Frisch’s prose trilogy, formed by the novels Stiller, Homo faber and Mein Name sei Gantenbein, brought about the thematic formal renovation of the German prose throughout the second half of the twentieth century. This fact can be appreciated in many of the novels written in the German part of Switzerland during the 1970s and the 1980s since they refer, thematically or structurally, to the most significant of the three, Homo faber. This article intends to offer a succint view of this reality and begins with an analysis of the internal and external structures of that novel. 

De Biedermann por Andorra hasta Biografie. La obra dramática de Frisch en España  
ACOSTA, Luis A.
205 

Resumen: This paper dels with the reception in Spain of three works by Frisch (1911-1991), namely, Biedermann y los incendiarios (Biedermann und die Brandstifter), 1958, Andorra, 1961, and Biografía (Biografie), 1967. These three plays have been produced for the stage in Spain by professional or commercial companies. Both the reception and the interpretation of the plays are seen from the perspective of comparativist methodologies. One the one hand, the way in which critics in its native tongue considered them is taken into account; on the other hand careful attention is paid to the peculiar way in which these works were received in Spain as a direct consequence of specific literary, cultural and historical conditions. Conflation of these two disparate analyses has brought about a new form of understanding.