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INFORMATION Ta USERS INFORMATION Ta USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, sorne thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quailly of this reproduction is dependent upon the quallty of the copy submitted. Broken or indistinct print. colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. ln the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher qually 6- x 9- black and white photographie prints are available for any photographs or Ulustrations appearing in this copy for an additional charge. Contact UMI directly ta arder. ProQuest Information and Leaming 300 North Zeeb Raad. Ann Arbor, MI 48106-1346 USA 800-521.Q600 Personal Identity in the Noveis orMa..~ Frisch and Luigi PirandeUo Rachel Remington German Department, McGill University, Montreal A thesis submitted ta the Faculty ofGraduate Studies and Research in partial fulfilment ofthe requirements ofthe degree of Master ofArts ©Rachel Remington 1999 NationaILJbrary BibliothèQue nationale 1+1 ofC8nada du canada Acquisitions and Acquisitions et Bib60graphic seNices services bibliographiques 395 Wellington street 395. rue WeUington OIawa ON K1A 0N4 0tIawa ON K1A 0N4 canada Canada The author bas granted a non­ L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library ofCanada ta Bibliothèque nationale du Canada de reproduce, lo~ distnbute or sen reproduire~ prêter, distnèuer ou copies oftbis thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership ofthe L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts nom ft Ni la thèse Di des extraits substantiels may be printed or otherwise de cene-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. 0-612-64186-4 Canadi l Table ofContent Table ofContent Acknowledgements iü Abstract in English IV Abstract in French iv Introduction 1 Chapter 1: Pirandello and Frisch Introduction 4 Influence? 5 Pirandello and the nouveau roman 8 Frisch and the nouveau roman 13 Modemism and Postmodemism 14 Notes 17 Chapter 2: Il fil Mattia Pascal and Stiller Introduction 20 Parallel Stories Starting Point and Crisis 21 New Lire Under New Identity 22 ReturnHome 24 Different Narrative Structures 25 The ''Moral'' ofthe Story ~ Rolfand the Critics 27 Dfil Mattia Pascal: Don Eligio and the eritics 29 The Unconscious 31 Conclusion 33 Notes 34 Chapter 3: Quaderni di Serafino Gubbio Qperatore and Homo faber Introduction and Summary ofthe Plots 36 Science and Art: Two Competing Modes ofCognition Faber 37 Gubbio 40 The Ambivalence in the Protagonists' Relation ta Technology Gubbio 42 Faber 45 The TechnologistlOperator-Persona as Shield • ü Faber 41 Gubbio 49 The Counter-World: the Idyll Gubbio 50 ~a ~ Conclusion 58 Notes 60 Chapter 4: Uno. nessuno e centomila and Mein NaIne sei Gantenbein Introduction 65 Uno. nessuno e centomila Story 65 Fonn 66 Identity Crisis 68 Interviews with Frisch and Pirandello 70 Mein Name sei Gantenbein Summary 11 Variation and Repetitions: Postmodem Indifference 72 Enderlin, a Parody ofthe Modemist Hero 73 Gantenbein or the Postmodem attitude towards Role-Playing 74 Ontologicai Perspective on Persona! Identity 75 Narrative Self-Erasure 76 Frisch and Postmodemism 77 Pirandello and Postmodemism 78 Conclusion 79 Notes 80 Conclusion and Summary 83 Bibliography 86 li Acknowledgments l would like to thank my supervisors, Professors Bauer and Kro~ for their essential contributions. Lucienne Kroha has taught me Italian literature since the beginning ofmy undergraduate studies at McGill and had a major influence on my academic development. Karin Bauer headed the challenging graduate seminar on identity in which l discovered the noveIs ofMax Frisch and first had the idea for the thesis. Both made very helpful comments and suggestions on various drafts ofthis thesis. l am particuIarly indebted ta my parents for their lifelong moral and financial support. And l would like to thank them and my sister for sending me essential documents and information while l was finishing this thesis in Spain with no library access. l would aIso like to thank my husband for being snch a wonderful father and homemaker. This project was funded by the Fonds pour la Formation de Chercheurs et l'Aide à la Recherche (FeAR) and the Deutscher Akademischer Austauschdienst (OAAD). IV Abstraet This MA thesis is a comparative study ofthe novels of Luigi Pirandello (Agrigento 1867-Rome 1936) and Max Frisch (Zurich 1911-1991). Six texts are discussed: Pirandello's TI fil Mattia Pascal (1904), Quademi di Serafino Gubbio operatore (1915), andUno. nessuno ecentomila (1925-6); and Frisch's Stilli=r(1954), Homo faber (1957), and Mein Name sei Gantenbein (1964). The comparison highlights the great similarities between Pirandello's and Frisch's treatment ofthe theme ofidentity as weil as sorne important (and mainly structural) differences in their novelistic works. The analysis of the three pairs of novels shows the developments in narrative structure and the characteristic change ofattitude towards the question of identity construction that took place from early-modernism to postmodemism. Ce mémoire de maîtrise est une étude comparative des romans de Luigi Pirandello (Agrigento 1867-Rome 1936) et de Max Frisch (Zurich 1911 ... 19991). Six textes y sont analysés: il fil Mattia Pascal (1904), Quaderni di Serafino Gubbio 0\1eratore (1915) et lino. nessuno e centomila (1925-6) de Pirandello; et ~ (1954), Homo faber (1957) et Mein Name sei Gantenbein (1964) de Frisch. La comparaison révèle de grandes ressemblances dans la façon dont Pirandello et Frisch traitent le thème de l'identité personnelle dans leurs oeuvres romanesques ainsi que d'importantes différences, surtout de type structural. L~analyse des trois paires de romans montre le développement des structures narratives et le changement d'attitude v face à la question de la construction de l'identité qui se sont déroulés du début du modernisme jusqu'au postmodernisme. '. l Introduction The idea for this comparative study ofthe novels ofa Sicilian and a Swiss writer who were not even contemporaries is the result ofa coincidence. As a student of German and Italian literature l was already familiar with Luigi Pirandello (Agrigento 1867- Rome 1936) when 1was first introduced ta the work ofMax Frisch (Zurich 1911 - 1991) through the reading, for a seminar on identity, ofMein Narne sei Gantenbein. My first impression was that this novel was very Pirandellian. After reading other novels and plays by Frisc~ l was amazed to see that bis three navels on persona! identity were not ooly generally Pirandelli~ but that each particularly resembled one (and a different one) ofPirandello's three novels on the same theme. The praject which had, at ~ an impressionistic feel, saon defined itself and became more complex. However, the amazement at the after all not-50-simple simi1arities and significant differences in the work of my two authors bas ooly increased over time. Max Frisch's work bas been the abject ofmuch critical work. And Pirandello bas almost become a field ofstudyper se with not ooly hnndreds ofpublished books and articles but aIso severa! international conferences, a journal and even a research centre devoted to the study ofhis work, bis life and bis fortunes at home and abroad. However, aImost nothing has been done in comparative literature ta study bQth authors jointly. This is perhaps because~ as I was often toId in Can~ Italy and Germany, itis unusual to studybath ItaIian and German Iiterature. As Pirandello and .Frisch are well known to aIl well-read speakers oftheir respective Ianguages~ l was 2 hoping to find something in Italian scholarship on Frisch or German scholarship on Pirandello. But l have searched and found little German secondary literature on Pirandello t and even fewer Italian writings on Frisch. l will mention a few articles linking Pirandello and Frisch in chapter 1. They are by German scholars. The ooly extensive comparative study ofPirandello and Frisch is an American dissertation in German from 1976. The author, Marlis ZelierCambon, bas chosen the same texts as l as the basis for her study ofthe thematic and stylistic similarities between the two authors. However, in contrast to Cambon, l will concentrate on the construction of persona! identity in the chosen novels. l will aIso give my thesis a clear direction and purpose by Iooking at how the question ofidentity has evolved from TI fil Mattia ~ (1904) to Mein Narne sei Gantenbein (1964). Persona! identity is such a major theme in thework ofboth Pirandello and Frisch that it is important and often central to Many books and articles about their work and especially those about the noveIs discussed here. It would be interesting to look at the representation of persona! identity in the plays, in Frisch's Andorra.. for example, but this study will be limited, for the sake of comparison, to three noveIs by each author. In the case of both Pirandello and Frisch, thesenoveIs are generally acknowledged and widely referred to as their three main noveIs on personal identity. Much has aIso been written. about Pirandeno t s relation to naturaIism~ modemism, and, more recentlYt postmodemism.
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