/6/m_dram.2020.64.issue-3.cover.jpeg?Expires=1645902385&Signature=mTM6c-i8OCycKVAVAv3aPSHvrt7i9LbubSgcMyq3IZEW0pSyrCXaQWtHUW2D2jcadv6ATom76VE6fmcHiofPPd8c3n7MUlbugNWhrpgGyF6KQW4z7VyLMe46Fh949nPIbKx3PMvF7Qc6FBmjYqKQk8QhGMkiEieUtt~hk6I2qaGH3I8skPcJ6mqBydm6h2AIMW2xL3Bb7PrlFC7JG7XCKaNl~f9R6bIOjxbg7a7MiXgZ2JfRWIeomStdb6xUmSnkIymGRRSc0f3jtDnpkGrBlAJS21~vneOGQv23vKpWGU8pX2FNoI0egLGtg3AfWzY-loLCDcrep7QMgSrF0J47WA__&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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