In the texts by Horváth that precede the “turn” of 1932, the representation of the woman's social condition is symbolically reflected in the choice of names that are deeply grounded in the religious tradition. Both in "Sechsunddreißig Stunden" (1929) and in "Geschichten aus dem Wiener Wald" (1931) the use of strongly connoted names such as Agnes or Marianne clearly prefigures the ideological and social horizon/perspective in which these figures and their vicissitudes are situated. Nevertheless, at a later moment in time, female characters often undergo processes of depersonalisation that are reflected in the substitution of the proper names with mere typological denominations.
