Instruct: Given a question, retrieve documents that can help answer the question.
Query: What was Max Rudolf Frisch's first novel?
Between February and October 1933 he travelled extensively through eastern and southeastern Europe, financing his expeditions with reports written for newspapers and magazines. One of his first contributions was a report on the Prague World Ice Hockey Championship (1933) for the Neue Zürcher Zeitung. Other destinations were Budapest, Belgrade, Sarajevo, Dubrovnik, Zagreb, Istanbul, Athens, Bari, and Rome. Another product of this extensive tour was Frisch's first novel, Jürg Reinhart, which appeared in 1934. In it Reinhart represents the author, undertaking a trip through the Balkans as a way to find purpose in life. In the end the eponymous hero concludes that he can only become fully adult by performing a "manly act". This he achieves by helping the terminally ill daughter of his landlady end her life painlessly.
Frisch was already a regular visitor at the Zürich Playhouse (Schauspielhaus) while still a student. Drama in Zürich was experiencing a golden age at this time, thanks to the flood of theatrical talent in exile from Germany and Austria. From 1944 the Playhouse director Kurt Hirschfeld encouraged Frisch to work for the theatre, and backed him when he did so. In Santa Cruz, his first play, written in 1944 and first performed in 1946, Frisch, who had himself been married since 1942, addressed the question of how the dreams and yearnings of the individual could be reconciled with married life. In his 1944 novel J'adore ce qui me brûle (I adore that which burns me) he had already placed emphasis on the incompatibility between the artistic life and respectable middle class existence. The novel reintroduces as its protagonist the artist Jürg Reinhart, familiar to readers of Frisch's first novel, and in many respects a representation of the author himself. It deals with a love affair that ends badly. This same tension is at the centre of a subsequent narrative by Frisch published, initially, by Atlantis in 1945 and titled Bin oder Die Reise nach Peking (Bin or the Journey to Beijing).
His first literary works, up till 1943, all employed prose formats. There were numerous short sketches and essays along with three novels or longer narratives, Jürg Reinhart (1934), it's belated sequel J'adore ce qui me brûle (I adore that which burns me) (1944) and the narrative An Answer from the Silence (Antwort aus der Stille) (1937). All three of the substantive works are autobiographical and all three centre round the dilemma of a young author torn between bourgeois respectability and "artistic" life style, exhibiting on behalf of the protagonists differing outcomes to what Frisch saw as his own dilemma.
Buclin, Hadrien. Surmonter le passé?: les intellectuels de gauche et le débat des années soixante sur la deuxième guerre mondiale, in: Schweizerische Zeitschrift für Geschichte, 2013/2, S. 233–249. Butler, Michael (1976) The Novels of Max Frisch (London) Butler, Michael (1985) The Plays of Max Frisch (London) Butler, Michael (1994) Andorra, Grant and Cutler Study Guide, 2nd edition, London Kieser, Rolf, ed. (1989) Max Frisch: Novels, Plays, Essays, The German Library Series, Continuum, New York.
Franz Rudolf Frisching was the founder of the Frisching Faience Manufactory in Bern.
The manufactory was founded by Franz Rudolf Frisching and his brothers Gabriel Friedrich (1731–1789) and Karl Albrecht (1734–1801) on the grounds of Franz Rudolf Frisching’s country estate, the "Lorraine Gut," outside the Old City of Bern. The manufactory specialised in faience stoves. Because of protectionism the manufactory could not sell one faience stove in the city of Bern. However, the faience stoves of the Frisching Faience Manufactory were very popular with the patricians of Basel and the French-speaking part of Switzerland.
Franz Rudolf Frisching was the son of Vinzenz Frisching (1689–1764) who was Master of Schlosswil. In 1748 Franz Rudolf Frisching became a member of the Swiss Guard of the Netherlands where he achieved the rank of a colonel. In 1764 Frisching became a member of the Grand Council of Bern. In 1770 he became bailiff in the Vallemaggia, in 1780 bailiff in St. Johannsen and in 1793 office holder in Wimmis. He was lieutenant colonel of the Bernese Jäger Corps.
The Max Frisch Archive is an independent research institution that belongs to the Max Frisch Foundation and is based at ETH Library. It curates the literary legacy of Swiss author Max Frisch and is available for academic, journalistic and artistic research.
In the author's Swiss homeland, too, critical reaction was overwhelmingly positive. Writing in Der Bund, Hugo Marti found "the young Parzival from Zürich" excessively garrulous, but the encounter was nevertheless essentially characterized by sympathy and empathy. Robert Faesi, who had himself taught Frisch at Zurich University, published a supportive review of "Jürg Reinhart" in the Basler Zeitung, and the newspaper nominated Max Frisch as a "Travel talker" (""Reiseplauderer""). Characteristically harder to impress was , the long-standing literary editor of the Neue Zürcher Zeitung (NZZ) (for which Frisch himself wrote regularly) who refused to serialize the novel, insisting that "Jürg Reinhart" was not a novel for the younger generation and that for him personally the subject matter did not seem to be in keeping with the times. Instead, the NZZ published a fictitious interview, and later Korrodi pushed a gloss regarding Frisch, concerning a young author who scanned the windows of all the book shops looking for his own first novel.
Max Rudolf Frisch (15 May 1911 – 4 April 1991) was a Swiss playwright and novelist. Frisch's works focused on problems of identity, individuality, responsibility, morality, and political commitment.[1] The use of irony is a significant feature of his post-war output. Frisch was one of the founders of Gruppe Olten. He was awarded the Neustadt International Prize for Literature in 1986.
Jürgen H. Petersen reckons that Frisch's stage work had little influence on other dramatists. And his own preferred form of the "literary diary" failed to create a new trend in literary genres. By contrast, the novels I'm Not Stiller and Gantenbein have been widely taken up as literary models, both because of the way they home in on questions of individual identity and on account of their literary structures. Issues of personal identity are presented not simply through description or interior insights, but through narrative contrivances. This stylistic influence can be found frequently in the works of others, such as Christa Wolf's The Quest for Christa T. and in Ingeborg Bachmann's Malina. Other similarly influenced authors are Peter Härtling and Dieter Kühn. Frisch also found himself featuring as a character in the literature of others. That was the case in 1983 with Wolfgang Hildesheimer's Message to Max [Frisch] about the state of things and other matters (Mitteilungen an Max über den Stand der Dinge und anderes). By then Uwe Johnson had already, in 1975, produced a compilation of quotations which he called "The collected sayings of Max Frisch" ("Max Frisch Stich-Worte zusammen").[96] More recently, in 2007, the Zürich–born artist Gottfried Honegger published eleven portrait-sketches and fourteen texts in memory of his friend.[97]
Jürg Reinhart. Eine sommerliche Schicksalsfahrt (""Jürg Reinhart. A fateful summer journey"") is the first novel of the Swiss writer Max Frisch (1911-1991). It was started during the winter of 1933 and published in Germany by in 1934. Frisch would later distance himself from this juvenile autobiographical work which was not reprinted as an individual novel, although much later it was included in a compilation of Frisch's collected works. His second novel, , referred back to this first novel, being again centred on the same eponymous protagonist.
Frisch was still only in his early 30s when he turned to drama, and his stage work found ready acceptance at the Zürich Playhouse, at this time one of Europe's leading theatres, the quality and variety its work much enhanced by an influx of artistic talent since the mid-1930s from Germany. Frisch's early plays, performed at Zürich, were positively reviewed and won prizes. It was only in 1951, with Prince Öderland, that Frisch experienced his first stage-flop.[78] The experience encouraged him to pay more attention to audiences outside his native Switzerland, notably in the new and rapidly developing Federal Republic of Germany, where the novel I'm Not Stiller succeeded commercially on a scale that till then had eluded Frisch, enabling him now to become a full-time professional writer.[79]
Montauk is a story by Swiss writer Max Frisch. It first appeared in 1975 and takes an exceptional position in Frisch's work. While fictional stories previously served Frisch for exploring the possible behavior of his protagonists, in "Montauk", he tells an authentic experience: a weekend which he spent with a young woman in Montauk on the American East Coast. The short-run love affair is used by Frisch as a retrospective on his own biography. In line with Philip Roth he tells his "life as a man", relates to the women with whom he was associated, and the failure of their relationship. Further reflections apply to the author's age and his near-death and the mutual influence of life and work. Also, the story is about the emergence of "Montauk": in contrast to his previous work Frisch describes his decision to document this weekend's direct experience without adding anything. "Montauk" met with strongly polarized reception. When faced by the open descriptions of their past, former partners of Frisch felt duped. Some readers were embarrassed by Frisch's self-exposure. Other critics hailed the story as his most important work and praised the achievement to make a literary masterpiece of his own life. Marcel Reich-Ranicki adopted "Montauk" in his Canon of German literature. The 2017 film "Return to Montauk" by Volker Schlöndorff and Colm Tóibín was inspired by the novel.
Franz Rudolf Frisching (1733–1807) was a Bernese patrician, officer, politician and industrialist.
The composition of the Board of Trustees continues to follow Frisch's specifications. The committee must include at least one author and one literary scholar, along with the publisher of the works of Max Frisch and one family representative: 
The Max Frisch Foundation's Board of Trustees also makes up the judging panel for the Max Frisch Prize, which is awarded by the City of Zurich every four years and carries CHF 50,000 in prize money.
In mid-1939 Frisch left Denmark for what he anticipated would be a short trip to Birmingham, but the outbreak of World War II precluded his return. With war on his mind, he and the physicist Rudolf Peierls produced the Frisch–Peierls memorandum at the University of Birmingham, which was the first document to set out a process by which an atomic explosion could be generated. Their process would use separated uranium-235, which would require a fairly small critical mass and could be made to achieve criticality using conventional explosives to create an immensely powerful detonation. The memorandum went on to predict the effects of such an explosion—from the initial blast to the resulting fallout. This memorandum was the basis of British work on building an atomic device (the Tube Alloys project) and also that of the Manhattan Project on which Frisch worked as part of the British delegation. Frisch and Rudolf Peierls worked together in the Physics Department at the University of Birmingham 1939–40. He went to America in 1943 having been hurriedly made a British citizen.
I'm Not Stiller (German title: "Stiller") is a novel by Swiss author Max Frisch, which was published in 1954. The theme of the novel, the question of identity, is a recurring theme in the work of Frisch.
Gertrud Anna Constance ("Trudy") Frisch-von Meyenburg (1916–2009) was a Swiss architect and the first wife of the writer Max Frisch.
Between 1750 and 1777 the Frisching family was in the possession of the large "Lorraine Gut," a former country estate which is now part of the city of Bern. Franz Rudolf Frisching’s ancestor, Samuel Frisching (II), built the Frisching-Haus, now known as the Béatrice-von-Wattenwyl-Haus on the Junkerngasse in Bern.
Weidermann marked the 100th anniversary of the birth of Max Frisch with a critical new biography, published in 2010, entitled "Max Frisch. Sein Leben, seine Bücher ("Max Frisch: His life and his books")".
By 1947 Frisch had accumulated roughly 130 filled notebooks, and these were published in a compilation titled Tagebuch mit Marion (Diary with Marion). In reality what appeared was not so much a diary as cross between a series of essays and literary autobiography. He was encouraged by the publisher Peter Suhrkamp to develop the format, and Suhrkamp provided his own feedback and specific suggestions for improvements. In 1950 Suhrkamp's own newly established publishing house produced a second volume of Frisch's Tagebuch covering the period 1946–1949, comprising a mosaic of travelogues, autobiographical musings, essays on political and literary theory and literary sketches, adumbrating many of the themes and sub-currents of his later fictional works. Critical reaction to the new impetus that Frisch's Tagebücher was giving to the genre of the "literary diary" was positive: there was a mention of Frisch having found a new way to connect with wider trends in European literature ("Anschluss ans europäische Niveau").[13] Sales of these works would nevertheless remain modest until the appearance of a new volume in 1958, by which time Frisch had become better known among the general book-buying public on account of his novels.
The literary legacy of Max Frisch makes up the core of the holdings. These include his letters and notebooks, manuscripts and typescripts, plans and business documents from his time as an architect, as well as various personal documents. An extensive collection of newspaper and magazine articles, photographs, film recordings, theatre posters and programmes documents the international resonance and reception of his work. Hence, the Max Frisch Archive serves as a main source for literary studies and commentaries in the field. French literary scholar Ruth Vogel-Klein wrote for instance about "Montauk": "The writing process can be reconstructed because Frisch gave his various typescript versions to the Max Frisch Archive that he founded in Zurich in 1981."
(Status: 1 January 2017)
In 1951, Frisch was awarded a travel grant by the Rockefeller Foundation and between April 1951 and May 1952 he visited the United States and Mexico. During this time, under the working title "What do you do with love?" ("Was macht ihr mit der Liebe?") on what later became his novel, I'm Not Stiller (Stiller). Similar themes also underpinned the play Don Juan or the Love of Geometry (Don Juan oder Die Liebe zur Geometrie) which in May 1953 would open simultaneously at theatres in Zürich and Berlin. In this play Frisch returned to his theme of the conflict between conjugal obligations and intellectual interests. The leading character is a parody Don Juan, whose priorities involve studying geometry and playing chess, while women are let into his life only periodically. After his unfeeling conduct has led to numerous deaths the anti-hero finds himself falling in love with a former prostitute. The play proved popular and has been performed more than a thousand times, making it Frisch's third most popular drama after The Fire Raisers (1953) and Andorra (1961).
At the end of 1955 Frisch started work on his novel, Homo Faber which would be published in 1957. It concerns an engineer who views life through a "technical" ultra-rational prism. Homo Faber was chosen as a study text for the schools and became the most read of Frisch's books. The book involves a journey which mirrors a trip that Frisch himself undertook to Italy in 1956, and subsequently to America (his second visit, this time also taking in Mexico and Cuba). The following year Frisch visited Greece which is where the latter part of Homo Faber unfolds.