/6/m_dram.2020.64.issue-3.cover.jpeg?Expires=1678869118&Signature=WBv1VChs4o3c3BaZGvA1oa~jsjpNdF1dOrwYnXmz3jYnkyzo1kGJXsYMryZDtnYh-xmjmWiKBue7xUdGD3YoYPF-RlAml9jAfeZCSB3W5A6hJy9axvEJtFo0CtpOWnPcIiNFjcjPhMU4ZnmUErYoTvtM0QaDsNeh8Gu1bS8hHJcRH4SMM0zypEZeZM9A0XUgnG3KmJlv9GnpCbPp2z6THlUTeY5miZ0doSQNXMCBNhmPUtBU9BE~Ly2~ksXtx1tXXJVUBYBXwOkm5CS5y5hU7aQojZi0RVOB0vM5Bxu~nUeRl03aMceXDoF3dXWfhf23VmEmdJ9VBjh4HuxSBDzJIQ__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
Abstract
In the unfinished Fatzer fragment, Brecht explored what it means to consider what is “true”, “false”, “real”, “fictional”, and so on. Even, or maybe especially, a fake or invented document could provoke “authentic” meanings or interpretations.
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© 1999 New York University and the Massachusetts Institute of Technology
1999
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