The Poetics of Memory and Fragment in Max Frisch’s Montauk and Peter Handke’s Wunschloses Unglück
Nägele warns of the dangers of proclaiming a general trend towards autobiographical fiction in the 60s and 70s and de Man even doubts the existence and status of the genre. Therefore, I want to aim at a simple comparative perspective and just look at the comments Max Frisch and Peter Handke make on memory (and so inevitably also on the self and our perception of self) in Montauk (1975) and Wunschloses Unglück (1974).
The extent to which these works really are autobiographical is irrelevant. It is not whether or not a text is autobiographical and what it tells us about the author’s life that is interesting. How one author fictionalises a personal event is also obviously impossible for criticism to analyse (and subconscious). What interests me is not how Montauk (M) and Wunschloses Unglück (WU) are two examples of the genre of autobiography but what they disclose about the processes of literary production in general and what this can reveal about our perception and reminiscence of experiences, and how it contributes to the ‘invention’ of the self.
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Inhaltsverzeichnis (Table of Contents)
- The Poetics of Memory and Fragment in Max Frisch's Montauk and Peter Handke's Wunschloses Unglück
- Fictionalising and Other Perspectives
- There are many more instances and they create a multi-facetted author-narrator-subject relationship that makes it possible for Frisch to comment on the processes of self-fictionalising while using only a few ‘essayistic' insertions and thus show this problem within the structure of Montauk rather than tell about it.
- First of all, I believe that the fictionalisation of the weekend is quite similar to fictionalisations in earlier works and it is there precisely to contrast with the I narrative to raise that question. But more importantly, I do not see how structure and construction can ever constitute an escape from fictionalising.
- By opposing the two types of narrative, Frisch makes statements about the nature of fiction as well as the fictionalizing tendency of human perspective in general:
Zielsetzung und Themenschwerpunkte (Objectives and Key Themes)
This paper aims to explore the relationship between memory, narrative perspective, and the process of self-fiction in the autobiographical works of Max Frisch and Peter Handke. It analyzes how fragmentation and multiple narrative voices contribute to the construction of self and the representation of experience.
- The poetics of memory and fragmentation in autobiographical writing.
- The interplay between fictionalizing and self-representation.
- The use of multiple narrative perspectives and their impact on meaning.
- The relationship between narrative structure and the act of self-creation.
- The inherent fictionalizing tendency of human perception.
Zusammenfassung der Kapitel (Chapter Summaries)
The Poetics of Memory and Fragment in Max Frisch's Montauk and Peter Handke's Wunschloses Unglück: This chapter establishes the central focus of the paper: exploring the relationship between memory and narrative structure in the autobiographical works of Max Frisch and Peter Handke. It argues that the autobiographical nature of the texts is secondary to their exploration of the literary production process itself and how this process reveals our understanding and recollection of experiences. The chapter introduces the concept of fragmentation as an "aesthetically appropriate" technique for representing the complexities of memory, highlighting how both authors use fragmentation to draw attention to the act of narration. The extent to which these works are truly autobiographical is deemed less important than their contribution to understanding how memory shapes our self-perception and how it informs the "invention" of self in literature. The chapter sets the stage for a comparative analysis by focusing on the authors' comments on memory, self, and the self-perception within their respective texts.
Fictionalising and Other Perspectives: This chapter delves into the methods used by Frisch and Handke to make the process of fictionalizing experience and self their central topic. It introduces the concept of juxtaposing two narrative types—a traditionally story-like third-person narrative and a more meta-literary, almost critical first-person account—to generate commentary on the creative process. The chapter discusses the complexities of distinguishing between critical text and narrative, particularly in Handke's *Wunschloses Unglück*, where language itself is presented as an obstacle to self-understanding. In Frisch's *Montauk*, the analysis examines the entanglement of "ich" and "er" narratives, showcasing a multifaceted author-narrator-subject relationship. The chapter argues that this dual approach enables Frisch to comment on self-fictionalizing within the narrative structure rather than through explicit essays.
There are many more instances and they create a multi-facetted author-narrator-subject relationship that makes it possible for Frisch to comment on the processes of self-fictionalising while using only a few ‘essayistic' insertions and thus show this problem within the structure of Montauk rather than tell about it.: This chapter extends the analysis of Frisch's *Montauk*, focusing on how Frisch constructs a multi-faceted relationship between author, narrator, and subject. It highlights the use of contrasting "ich" and "er" narratives to portray the complexities of self-fictionalization. The chapter examines a significant quotation from *Montauk* which reveals Frisch's struggle with self-representation and his exploration of his own life through the lens of literature. The concept of "Verrat" (betrayal) is introduced to describe the complexities inherent in self-fictionalization, showcasing a tension between the act of self-revelation and the inherent limitations of language. The chapter also addresses Müller-Salget's claim that Frisch escapes fictionalization altogether through structural techniques in *Montauk*, arguing against this notion by highlighting that even structural devices remain fundamentally tied to fictionalization.
First of all, I believe that the fictionalisation of the weekend is quite similar to fictionalisations in earlier works and it is there precisely to contrast with the I narrative to raise that question. But more importantly, I do not see how structure and construction can ever constitute an escape from fictionalising.: This chapter continues to address the role of structure in Frisch's *Montauk*. It argues that structural elements, while drawing attention to the act of storytelling, do not represent an escape from fictionalization. The chapter analyzes how even a seemingly straightforward narrative is inevitably a form of fictionalization. It extends the argument by suggesting that structure is a crucial aspect of fictionalization, not limited to literature but also present in the ways we narrate our own lives. The chapter uses Handke's perspective to illustrate the inherent absurdity of a simple recounting of life's coincidences and highlights the role of structure in making sense of the human experience.
By opposing the two types of narrative, Frisch makes statements about the nature of fiction as well as the fictionalizing tendency of human perspective in general:: This chapter concludes the analysis by focusing on the implications of the contrasting narrative perspectives in Frisch’s work. The chapter argues that by juxtaposing these perspectives, Frisch comments not only on the nature of fiction itself but also on the inherent fictionalizing element present in human perception. It emphasizes that the writer's consciousness of this fictionalizing tendency simply increases their awareness. The chapter also includes a quotation suggesting that the writer is often hesitant about publishing emotions that are not suitable for publication, and instead waits for their irony before publishing. The chapter concludes by referencing Handke's similar concerns regarding the fictional aspect of formulating experiences, reinforcing the pervasive nature of fictionalization in representing the human experience.
Schlüsselwörter (Keywords)
Autobiography, memory, narrative perspective, fragmentation, self-fiction, Max Frisch, Peter Handke, Montauk, Wunschloses Unglück, fictionalization, literary production, self-representation, narrative structure, human perception.
Frequently Asked Questions: The Poetics of Memory and Fragment in Max Frisch's Montauk and Peter Handke's Wunschloses Unglück
What is the main focus of this paper?
This paper explores the relationship between memory, narrative perspective, and the process of self-fiction in the autobiographical works of Max Frisch and Peter Handke. It analyzes how fragmentation and multiple narrative voices contribute to the construction of self and the representation of experience.
What are the key themes explored in the paper?
Key themes include the poetics of memory and fragmentation in autobiographical writing, the interplay between fictionalizing and self-representation, the use of multiple narrative perspectives and their impact on meaning, the relationship between narrative structure and the act of self-creation, and the inherent fictionalizing tendency of human perception.
How do Frisch and Handke use fragmentation in their autobiographical works?
Both authors utilize fragmentation as an "aesthetically appropriate" technique to represent the complexities of memory, drawing attention to the act of narration itself. The autobiographical nature is secondary to the exploration of the literary production process and how this process reveals our understanding and recollection of experiences.
What is the significance of multiple narrative perspectives in Frisch's and Handke's works?
Frisch, particularly in *Montauk*, juxtaposes a traditional third-person narrative with a more meta-literary first-person account. This creates a multifaceted author-narrator-subject relationship, allowing him to comment on self-fictionalization within the narrative structure. Handke, in *Wunschloses Unglück*, uses language itself as an obstacle to self-understanding, further highlighting the complexities of narrative perspective.
How does the paper address the concept of "fictionalization"?
The paper argues that fictionalization is inherent not only in literature but also in how we narrate our own lives. Even structural elements in a narrative, while drawing attention to the act of storytelling, do not represent an escape from fictionalization. The authors' awareness of this fictionalizing tendency increases their awareness of the constructed nature of self and experience.
What is the role of structure in Frisch's *Montauk*?
The paper argues against the notion that structural techniques in *Montauk* allow Frisch to escape fictionalization. Instead, it highlights how structure itself is a crucial aspect of fictionalization, integral to how we make sense of human experience. The juxtaposition of narrative types reveals the inherent fictionalizing tendency of human perspective.
What are the key differences in the narrative approaches of Frisch and Handke?
While both authors explore self-fictionalization, their approaches differ. Frisch uses contrasting "ich" and "er" narratives to create a multifaceted representation of self. Handke, in *Wunschloses Unglück*, uses the limitations of language to showcase the difficulty of self-understanding and the inherent fictional aspect of formulating experiences.
What is the significance of the concept of "Verrat" (betrayal) in the analysis of *Montauk*?
The concept of "Verrat" (betrayal) highlights the inherent tension in self-fictionalization between the act of self-revelation and the limitations of language in accurately representing oneself. It reveals the challenges of representing authentic emotions and experiences through literature.
What is the overall conclusion of the paper?
The paper concludes that by juxtaposing different narrative perspectives, both Frisch and Handke comment on the nature of fiction and the inherent fictionalizing tendency of human perception. The act of writing and representing oneself is inevitably a process of constructing and reconstructing the self through the lens of narrative and memory.
- Quote paper
- MPhil Rebecca Steltner (Author), 2004, Structuring Memory: Narrative Perspectives in German Autobiography, Munich, GRIN Verlag, https://www.hausarbeiten.de/document/57422