Open AccessTihi Don Juan. Koncept ljubezni in umetnosti v delih Maxa Frischa
Author(s) -
Špela Virant
Publication year - 2012
Publication title -
ars and humanitas
Language(s) - English
Resource type - Journals
SCImago Journal Rank - 0.184
H-Index - 2
eISSN - 2350-4218
pISSN - 1854-9632
DOI - 10.4312/ah.6.1.149-156
Subject(s) - situated , mistake , context (archaeology) , silence , narrative , identity (music) , aesthetics , sociology , art , philosophy , literature , history , law , archaeology , political science , artificial intelligence , computer science
In the novel Stiller and in the play Don Juan, both published in the early 1950s, Frisch already focuses on the problem of identity as one of his major themes, but it is not yet situated in a political context as, for example, in the play Andorra. In these works, the identity-problem is situated in the domain of intimate relationships and artistic creativity, offering the possibility to discuss Frisch’s concepts of art and love, which unfold through Frisch’s treatment of the traditional literary figure of Don Juan and his hubris. Frisch’s Stiller and Don Juan do not believe in God; but their frame of mind stays the same, while the position of God and his attributes are assigned to love, art and geometry. Although both literary figures in the course of events realize that this substitution is a mistake, they are unable to alter their concepts of love and art. Instead of altering the concepts, they rather resign in silence, while Max Frisch continues to search for alternatives in reflecting on the process of fictionalization and in developing innovative narrative and dramatic structures