/6/m_dram.2020.64.issue-3.cover.jpeg?Expires=1659530699&Signature=w74hb~SA3TimI6eGGahuQmJNWpHI9puCCqAS5ca7AAov97doyCrTv2Kj0kDryxMF62mRngFmKZR8VqE57-7zaB3QV3rxO-SQ~cDRW1XvMb8aANhZaCpfYTSKtk9b8SpVhB5RRFIwsBRqrGOwO9y9j9cpTw-qYQklIb7bqnHUE4mX656FH8KqqLHqaAHDqqBZiYmeU8Ga9F4Z~Q5QJF4AUL1Z6lYgN3Atd5jvWdEoYpC9KYRA4uFeTxHQjNMFlHhF2nNEAvGlCUyImMWEmjjH84z7wPFboRwhhtEqb-IrzwjDX2uViYHPVkOG9l~kLVaXfKyQTuVOdUDa8DWFfHRtjw__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
Abstract
Throughout his life, Brecht reworked his heroes and anti-heroes as self-portraits. His success lies in the degree to which he makes something objective out of the most subjective sources.
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© 1999 New York University and the Massachusetts Institute of Technology
1999
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