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Negation, Doubling and Identity in Roman Polanski's the Tenant and Max Frisch's Stiller

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Negation, Doubling and Identity in Roman Polanski's the Tenant and Max Frisch's Stiller Western University Scholarship@Western Electronic Thesis and Dissertation Repository 6-29-2016 12:00 AM "I" am not "I" anymore: Negation, Doubling and Identity in Roman Polanski's The Tenant and Max Frisch's Stiller Parastoo Alaeddini The University of Western Ontario Supervisor Prof. Paul Coates The University of Western Ontario Graduate Program in Comparative Literature A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Parastoo Alaeddini 2016 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Comparative Literature Commons Recommended Citation Alaeddini, Parastoo, ""I" am not "I" anymore: Negation, Doubling and Identity in Roman Polanski's The Tenant and Max Frisch's Stiller" (2016). Electronic Thesis and Dissertation Repository. 3825. https://ir.lib.uwo.ca/etd/3825 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract This thesis is a comparative study of Roman Polanski 1976 pyschological thriller The Tenant and Max Frisch’s 1954 novel Stiller. It explores the multi-layered and multivalent nature of the director’s film and the author’s novel by analyzing them through various theoretical lenses. While focusing on the (re)construction and destruction of the protagonists’ identities, it unfolds the multiple levels of meaning pertinent to various literary and cinematic motifs, including the double, suicide, projection, and fiction making. The first chapter explores the dynamics of the conflict between the societal and personal identities of the protagonists. The second chapter highlights the defense mechanisms- i.e. doubling and projection- the protagonists adopt against the external assaults on their personal identities. The third chapter elaborates on the failure of the defense mechanisms and the ambiguities of the protagonists’ final states. Keywords Roman Polanski, Max Frisch, The Tenant, Stiller, The Double, Projection, Suicide, Identity. Acknowledgments Words fail to express the depth of my gratitude to my dear supervisor, Prof. Paul Coates, whose unconditional help, patience and kindness made the completion of this thesis possible. Without his help, as I have always said and will say, I would have been lost in the mirrored maze of doublings. Working under Prof. Coates’ supervision was a dream that came true and this thesis is the sweet memory of that dream. I would like to thank my graduate chair, Prof. Calin Mihailescu, for always helping me, encouraging me and being there for me whenever I was feeling down. His kindness to me has been too much to be ever forgotten. I would also like to thank the members of my defense committee, Prof. Janina Falkowska, Prof. Vlad Tumanov and Prof. David Darby for their encouragement, support and helpful feedback. Finally, I want to thank my family and friends: my parents for always telling me to follow my heart, my brother for buying me my very first English dictionary many years ago, my friends Fereshteh for all her unconditional help and valuable feedback, Beheshteh for always being there for me in my hard times and Amirreza for believing in me and lifting my spirit in my hours of hopelessness. ii Table of Contents Abstract ................................................................................................................................ i Acknowledgments............................................................................................................... ii Table of Contents ............................................................................................................... iii Introduction ......................................................................................................................... 1 Chapter 1 ........................................................................................................................... 14 1 The Conflict: The Case of the Two ‘I’s ....................................................................... 14 1.1 The Mirrored Tenant ............................................................................................. 15 1.2 The Entrapped Tenant ........................................................................................... 19 1.3 The Stigmatized Tenant ........................................................................................ 24 1.4 The Curious Case of Stiller/James White ............................................................. 26 Chapter 2 ........................................................................................................................... 38 2 The Defense: Doubling and Projection ........................................................................ 38 2.1 The Double: a Proteus-like Figure ........................................................................ 40 2.2 A World of Dualities ............................................................................................. 42 2.3 Stiller: a Tale of Doubles ...................................................................................... 51 2.4 Conclusion: The Double and Solitude .................................................................. 62 Chapter 3 ........................................................................................................................... 66 3 The Failure: The End of Performance .......................................................................... 66 3.1 The Newly Former Tenant .................................................................................... 67 3.2 Stiller: The Moment of Truth ................................................................................ 76 Conclusion ........................................................................................................................ 90 4 Works Cited ................................................................................................................. 92 Curriculum Vitae .............................................................................................................. 99 iii 1 Introduction Orestes: “Foreign to myself—I know it. Outside nature, against nature, without excuse, beyond remedy, except what remedy I find within myself. But I shall not return under your law; I am doomed to have no other law but mine. Nor shall I come back to nature, the nature you found good; in it are a thousand beaten paths all leading up to you—but I must blaze my trail. For I, Zeus, am a man, and every man must find out his own way.” _ The Flies, Jean-Paul Sartre The purpose of this thesis is to explore the intersection of one’s identity, its negation and doubling as delineated in Max Frisch’s 1954 novel Stiller and Roman Polanski’s 1976 psychological thriller The Tenant. Questions of identity, its constituents and the individual’s alienation from and by society are among the recurrent motifs of both Polanski’s films in the 60s-70s and Max Frisch’s novels written in the early decades after World War II, a time when the issues of human existence, identity and freedom dominated the theme of various forms of literary productions. The emphasis that their oeuvres place on the individual and her/his efforts to define reality, Polanski’s admitted fascination and influence by The Theater of the Absurd, and Max Frisch’s choice of an epigraph for his novel from Kierkegaard’s Either/Or connect both the director and the novelist to the philosophical movement dominant in the 50s and 60s: Existentialism.1 While Jean Paul Sartre, Albert Camus, Gabriel Marcel, and Paul Tillich are the major figures in the Existentialism of this period, the nineteenth century philosopher Søren Kierkegaard is often considered the founder of this philosophical movement (Pamerleau 1 When asked about the religious motifs in Stiller in an interview in 1984, Frisch admitted to have been directly influenced by Kierkegaard: “I wouldn’t go so far as to say the whole religious element in the book is not honest, but it’s rather an influence I had at that time from reading Kierkegaard, and it was more a reading experience than a real one.” Frisch, Max. “Max Frisch, The Art of Fiction No. 113.” Interview by Jodi Daynard. The Paris Review, 1989. Web. 20 Feb. 2016. 2 14).2 In spite of the central role of religion, particularly Christianity, in Kierkegaard’s philosophy, he rejects any “systematic attempt to find the truth by means of a complete, logical explanation” and instead focuses on one’s subjective perception of the truth (14). This very shift; i.e. from the objective view of reality to its subjective conception, is the common ground on which all other existentialists, regardless of their theistic or atheistic worldviews, walk. However, academics, philosophers and critics have not been able to reach a consensus on a definition of Existentialism that could possibly serve as the definition. Nevertheless, the one offered by Pamerleau in his introduction to Existentialist Cinema seems to me to have best captured the essence of this movement whose profound influence can still be discerned in various realms of art, literature, and human life long after its heyday in the 50s and 60s. He defines Existentialism as that philosophical endeavour “which describes the human condition as it is experienced by the individual” (1). In other words, the dynamics and quality of what could be labeled
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