Themenwahl, Forschungsgegenstand und Forschungsstand
Niemand wird in seinem Leben ohne Literatur aufwachsen Obwohl Literatur und das Lesen in der heutigen Medienzeit an Bedeutung verlieren, hat die Literatur des
The 20th century, recognized globally as "modern literature," continues to exert a significant influence on people worldwide, particularly through works related to the most impactful event of the century, World War II Many authors and literary pieces from this tumultuous period have become timeless classics, still studied in schools and universities today This includes the two writers selected for my bachelor's thesis: Wolfgang Borchert (1921–1947), a German author known for his concise works of short stories, poems, and plays that established him as a prominent figure in "rubble literature," and Nam Cao (1917–1951), a Vietnamese writer who made substantial contributions to the development of the short story genre in Vietnam during the early 20th century My serendipitous discovery that Borchert and Nam Cao, despite their different cultural backgrounds, explore remarkably similar themes, prompts me to conduct a comparative analysis of their works.
The theme of "poverty" was a prevalent literary subject around 1945, prominently featured in Borchert's short stories immediately after World War II, while Nam Cao addressed it both before and during the war This study explores this theme in their short stories, focusing on the similarities and differences in content, form, language, and style in their literary approaches Although the time periods in which the analyzed texts were created do not perfectly align, this discrepancy is not a significant issue, as the historical contexts are still relevant.
2 literaturgeschichtlichen Entwicklungen in Deutschland und Vietnam nicht parallel verlaufen
The life and work of Borchert have been extensively studied by both German and international literary scholars Several of his short stories, such as "The Bread," "The Kitchen Clock," and "In May, in May," have been translated into multiple languages, showcasing his widespread influence and appeal.
Kuckuck usw Gordon Burgess beschọftigte sich vor allem mit der Sammlung von
Borchert's documents provide readers with a comprehensive understanding of his life, with significant contributions to the classification and interpretation of his short stories made by Horst Brustmeier in his 1966 doctoral thesis and Stefan H Kaszynski in his 1970 book Both authors frequently address the theme of "poverty." In contrast, Nam Cao, a writer from a small and impoverished country, is primarily examined by local literary critics such as Hà Minh Đức, Vũ Bằng, and Phạm Đình Ân, with Hà Minh Đức being the most successful in exploring the theme of "poverty" in Nam Cao's short stories Despite numerous studies available in both languages, there remains a lack of comparative research on this topic.
Zielsetzung der Arbeit
There is no doubt that engaging with literary works is crucial for learning German at the university level However, I have observed that German students often pay insufficient attention to German literature Therefore, I believe it is important to write a bachelor's thesis focusing on literature.
Die vorliegende Arbeit hat folgende Ziele:
Erstens soll dargestellt werden, wie die literaturgeschichtlichen Entwicklungen um 1945 in Deutschland sowie in Vietnam aussahen
Zweitens ist es erforderlich, auf die Textsorte ,,Kurzgeschichte“ einzugehen und die Gemeinsamkeiten und Unterschiede zwischen ,,Kurzgeschichte“ in Vietnam und Deutschland herauszufinden
Drittens soll das Thema ,,Armut“ in ausgewọhlten Texten von Wolfgang Borchert und Nam Cao ausführlich untersucht werden und es sollen die Gemeinsamkeiten und Unterschiede herausgearbeitet werden
Schlieòlich sollte die Arbeit das Interesse anderer DaF-Studierender daran wecken, weitere Untersuchungen über deutsche Literatur und kontrastive literarische Vergleiche durchzuführen.
Untersuchungsmethoden und Materialienzugang
In my work, the fundamental methods will be analyzing, interpreting, and comparing literature Essential materials include books on the history of German literature from 1945 to the present, as well as texts on Vietnamese literature from the first half of the 20th century and resources explaining the short story genre Additionally, existing analyses and interpretations of the lives and works of both authors by various literary scholars will be crucial A film adaptation of the short story "Das Brot" and translations of some of Borchert's short stories will also serve as valuable aids for foreign students in understanding the texts, and will therefore be incorporated into this study.
Aufbau der Arbeit
My bachelor's thesis is divided into several chapters The first chapter contains the introduction, while the second chapter presents the historical and literary contexts of the two authors, along with a brief overview of their lives and works The third chapter focuses on the genre of the "short story." In the following chapter, selected texts are analyzed, interpreted, and compared in detail.
Am Ende der Arbeit soll ein Fazit gezogen werden
2 Wolfgang Borchert und Nam Cao: zwei Kurzgeschichtenautoren des
Wolfgang Borchert als Vertreter der deutschen Kurzgeschichte
Hintergrund: Die deutsche Literatur der unmittelbaren Nachkriegszeit
Nachkriegszeit und die deutsche ,,Trümmerliteratur“
Wolfgang Borchert is recognized as an author of short stories associated with "Trümmerliteratur," a term often equated with "Nachkriegsliteratur" or post-war literature Helmut Peitsch (2009) categorizes post-war literature into four distinct periods: 1945-1949, 1949-1961, 1961-1976, and 1976-1989 Trümmerliteratur specifically refers to a segment of German literature from 1945 to 1949, coinciding with Borchert's final years before his death in 1947 The connection between the historical context and the literary developments around 1945 in Germany reveals that "ruins" encompass not only the war-torn cities but also the ideals and the buried literary language itself.
Am 8 Mai 1945 endeten zugleich der Zweite Weltkrieg in ganz Europa sowie das Dritte Reich und der Nationalsozialismus in Deutschland
„Als der Waffenstillstand in Kraft trat, war Deutschland eine Ruine, bedeckt von
The aftermath of the conflict left behind 400 million cubic meters of debris, with over 40% of homes and apartments either destroyed or severely damaged Approximately 3.76 million soldiers were reported dead or missing, while six to seven million were held as prisoners of war The civilian toll was staggering, with more than 3.6 million lives lost Additionally, twelve million German and ethnic German refugees and displaced persons flooded westward With authorities and social services non-existent, the economy had collapsed, leading to a reliance on barter and black market activities.
5 dominierten den Handel [ ] Es gab kein Gas zum Kochen oder Heizen und nur ab und zu Strom oder flieòendes Wasser“ (Burgess 1996: 23)
Germany was in ruins, with cities devastated and the land plagued by death, famine, housing shortages, and waves of refugees This period, referred to as the "Zero Hour" by Heinrich Friedrich, marked a time when the nation stood at a critical juncture Despite the destruction, citizens held onto hope for recovery and a fresh start, leading to the emergence of what is known as "Trümmerliteratur" or "literature of the Zero Hour."
A significant change that ultimately led to the establishment of two German states (the Federal Republic of Germany and the German Democratic Republic) was the political division of Germany In August 1945, Germany and Berlin were divided into four occupation zones: Soviet, British, American, and French, each pursuing different political and economic development paths In the Soviet zone, a process of centralization occurred, requiring all industrial and agricultural enterprises to be nationalized In contrast, the Western zones saw the formation of various political parties and the initiation of an independent economic revival.
2.1.1.2 Die Entwicklung deutscher Literatur der unmittelbaren
The political division mentioned above inevitably led to a literary split In the Soviet Occupation Zone, the establishment of socialism resulted in a rapid homogenization of literature under state influence Conversely, in West Germany, there was a strong emphasis on an anti-communist stance in literary works.
Auòerdem entstanden zwei Gruppen von Autoren innerhalb Deutschlands: Auf der einen Seite gab es die Autoren, die sich um eine Verarbeitung des
The National Socialism era saw the return of exiled authors such as Bertolt Brecht, Arnold Zweig, and Ernst Bloch, alongside those from the "Inner Emigration" like Walter von Molo and Alfred Haushofer, who remained in Germany despite the threats posed by the Nazi regime Both groups aimed to process their experiences, gaining significant recognition in the Soviet Zone A notable conflict arose when Walter von Molo urged German exiled writers to return, leading to a sharp rejection from Thomas Mann, which intensified the divide between these factions In contrast, a West German group known as "the young generation" emerged, defined by Karl Esselborn as war participants aged 18 to 35 who were not responsible for Hitler However, this definition faced criticism from Heinz Friedrich and others, who argued that the "young generation" should not be limited by age, as many were nearing 30 by the war's end, with "young" primarily signifying innocence.
Many individuals were pulled from classrooms or lecture halls directly into war, missing the opportunity and guidance to practice free public communication through writing or speaking.
Representatives of the "younger generation" included notable authors such as Heinrich Böll, Walter Kolbenhoff, and Wolfgang Borchert This group of writers produced significant works in the immediate post-war period, which continue to be recognized and influential today.
"Trümmerliteratur" refers to a literary movement characterized by poetry, reports, and narrative prose that were compiled and published in the magazine "Der Ruf – Unabhängige Blätter der jungen Generation." In 1947, Hans Werner Richter founded Gruppe 47, a collective of authors and publishers that served as a meeting point for the young generation of writers.
Generation zum Vorlesen oder Vorstellen neuer Werke Problematiken wie der verlorene Krieg, die Teilung Deutschlands oder aktuelle politische Probleme wurden dabei nicht mehr behandelt
After the war, significant differences emerged between East and West Germany, leading to major conflicts among various author groups and a profound intellectual divide between two generations The only commonality between East and West was the strict control of news and the prohibition of book and magazine production without authorization The aim was to swiftly eradicate Nazi, fascist, militaristic, and anti-democratic ideas.
Authors were placed on blacklists, while booksellers and lending libraries were required to register, and publishers had to apply for licenses Additionally, the scarcity of paper due to the overall economic situation posed a significant obstacle to publishing across all four occupation zones.
Hinsichtlich der Gattungen lọsst sich die Literatur unmittelbar nach dem Kriegsende wie folgt charakterisieren:
The most significant genre of literature was lyric poetry, which many authors considered the best means to express their feelings and experiences Older writers often relied on traditional forms, such as the sonnet, and struggled to create a new beginning in lyric poetry Notable lyricists of that era included Bertolt Brecht, Günter Eich, Elisabeth Langgässer, Karl Krolow, and Johannes R Becher.
The drama faced significant challenges during this period, achieving little success due to the destruction of many theaters and the restrictive cultural policies imposed by the Allies Authors struggled to create a new German drama under these difficult circumstances.
8 verfassen Auch ,,die Gruppe 47 hat viele bedeutende Schriftsteller, aber keinen bemerkenswerten Dramatiker hervorgebracht“ (Barner 2006: 99)
Nur wenige deutsche Theaterstỹcke fanden in dieser Zeit ein groòes Publikum Das erfolgreichste Theaterstỹck war ,,Drauòen vor der Tỹr“, ein wertvolles und unsterbliches Generationsstück von Wolfgang Borchert
Exiled authors and those from the Inner Emigration struggled to achieve a true fresh start in their prose They faced challenges in articulating their emotions and produced texts that transcended their immediate experiences, maintaining only an indirect connection to the historical realities of their time.
The emergence of the short story genre marked a significant shift for the "younger generation" of authors, inspired by American writers like Ernest Hemingway and William Faulkner (Barner 2006: 37) This new literary form thrived due to two key factors: the rapid growth of newspapers and magazines, which created a demand for straightforward narratives reflecting "empirical reality," and the Allied policy of "re-education" and denazification (Peitsch 2009: 100) Prominent authors in this genre include Heinrich Böll, Wolfgang Borchert, Siegfried Lenz, Walter Kolbenhoff, and Hans Werner Richter.
Typische Themen und Merkmale der Trümmerliteratur
"Trümmerliteratur," in its narrower sense, refers primarily to the texts, especially short stories, written by the representatives of the "young generation" in the years immediately following the war Notable works include Wolfgang Borchert's significant homecoming drama "Draußen vor der Tür" and Günter Eich's poem "Inventur." The young authors aimed to break away from the aesthetic traditions of the pre-war era, choosing instead to create literature that reflected the devastation around them.
,,von vorn“, ,,von Null“ anfangen (vgl Mai 2004, 2006: 156ff)
Typical themes of rubble literature include war experiences, the challenges of returning home, isolation and alienation in one's homeland, life amidst the ruins, poverty, epidemics, and death The authors candidly depicted their truths—everything they experienced or witnessed—without embellishment or idealistic falsehoods (cf Kilchenmann 1967: 161) For them, this raw truth held greater significance than beauty, poetry, or artistic finesse.
The authors adhered to the principles of economy and simplicity, employing a straightforward, unembellished, and factual language Their concise narrative style highlights the typical characteristics of the genre they prioritize.
„Kurzgeschichte“ werden im dritten Kapitel nọher erlọutert.
Wolfgang Borchert: Leben und Werk
Borchert and his contemporaries experienced three distinct phases of 20th-century Germany: the failure of the Weimar Republic, the totalitarian state, and the total war under the National Socialists, followed by the immediate post-war period (Burgess 2007: 22) His life can also be divided into various significant stages.
Abschnitte einteilen, um die Verọnderungen deutlich zu machen
In the early 1920s, Germany faced a severe inflation crisis, which marked the backdrop of playwright Wolfgang Borchert's early life Born in 1921 as the only child of an educated middle-class family in Hamburg, Borchert was raised by his father, Fritz Borchert, a public school teacher, and his mother, Hertha Borchert, a writer of Low German homeland literature Their circle of friends included artists, publishers, actors, and writers, creating an environment where the arts, particularly literature and theater, were not only valued but actively practiced This rich cultural atmosphere undoubtedly influenced Borchert's artistic development.
10 entscheidenden Einfluss auf Borcherts spọtere Entwicklung in kỹnstlerischen Bereichen
2.1.3.2 Jugendjahre und die ersten literarischen Versuche (1933 – 1941)
The Weimar Republic came to an end when Adolf Hitler was appointed Chancellor on January 30, 1933 Following the Nazi rise to power, all organizations were taken over by the regime Borchert's father had to become a passive party member to keep his teaching position, while his mother, Hertha Borchert, joined the National Socialist Women's League and was obligated to support the military By 1936, membership in the Hitler Youth became mandatory for all youths aged 10 to 18 At 15, Wolfgang Borchert was unable to express any criticism in school, where he was indoctrinated with concepts of discipline, obedience, and authority A pivotal moment in his life occurred in 1937 when he attended a Hamlet performance at the Hamburg Thalia Theater with his mother, igniting his passion for theater From that night on, he was filled with imagination, beauty, art, and theater, reading plays throughout the night and writing his own adaptation of Hamlet, titled "Yorick, the Fool," at the age of 17 in 1938.
Weiterhin schrieb er auch Gedichte, das erste hieò Reiterlied (vgl Burgess 2007:
In 1939, he left school without a diploma due to declining grades and began an apprenticeship as a bookseller at the prestigious Carl Boysen bookstore in Hamburg, as per his parents' wishes Simultaneously, he pursued acting lessons with the renowned actor Helmuth Gemlin and took dance classes He frequently attended theater performances, cabarets, and pubs with friends, engaging in discussions about the reopening of small theaters, favorite poets, art, theater, and revolution Between 1933 and 1939, there was a marked increase in the discrimination and persecution of Jews.
Many Jews were arrested, deported to concentration camps, and subsequently murdered In response, Borchert sought refuge in literature, believing that art could save the world He composed classical-style poems and, in 1939, wrote the play "Kose - The Comedy of Man" along with other dramatic works.
Granvella expressed his views on Hitler and National Socialism, leading to an unfortunate incident where a copy of Kọse reached the Gestapo, resulting in Wolfgang's brief arrest for "anti-state" content (Burgess 2007: 68) By Christmas 1940, he abandoned his apprenticeship to focus solely on his theater career, which flourished from January to May 1941, fulfilling his dream of working in theater, albeit with little financial reward During this period, he performed at different venues every night (Burgess 2007: 89) In his youth, Borchert often fell in love with older women, writing them letters and poems A significant turning point in his emotional life was his relationship with Heidi Boyes, a 24-year-old actress and colleague, which he considered true love and for which he even made concrete future plans (Burgess 2007: 92f).
Am 4 Juni 1941 wurde der Schauspieler Wolfgang Borchert wie tausende andere junge Mọnner zur Wehrmacht einberufen Borchert wurde nach der Grundausbildung an die Ostfront tief innerhalb Russlands geschickt Von dort schrieb er họufig Briefe an seine Familie und Freunde Die meisten Briefe waren Schreie eines gequọlten Menschen, der seinen Abscheu gegen den Irrsinn des Krieges sowie das Soldatendasein ausdrỹckte und sich stọndig fragte, wie lange noch er sein Leben an der Front aushalten konnte (vgl Burgess 2007: 98) Am 25 Juni 1942 wurde er unter dem Verdacht der Selbstverstümmelung verhaftet und war von der Todesstrafe bedroht Mit Hilfe eines Freundes, Dr Carl Hager als Anwalt, wurde Borchert zum Glück nach einem Monat freigesprochen Kurz nach dem Freispruch wurde er wieder festgenommen, denn seine Briefe an Freunde enthielten
A 21-year-old man remained in custody at a military prison in Nuremberg, where he was sentenced to eight months in prison His sense of humor ultimately led to his third imprisonment when his company commander learned that he had entertained fellow soldiers with jokes and impersonations of superiors in the barracks In late January 1944, Borchert was detained in Berlin-Moabit on suspicion of "undermining military strength" and received a five-month sentence During the final months of the war, from December 1943 to September 1944, his life as a soldier was relatively calm.
In 1944, Borchert primarily focused on writing poetry, with his experiences during his imprisonment and the war years significantly influencing the essence of his later literary works.
As the war drew to a close, Wolfgang Borchert, along with others, made his way north through fields and forests to return home Despite suffering from severe illness after the war, doctors could not provide a clear diagnosis Borchert never abandoned his dream of acting, but his poor health prevented him from performing on stage again In need of income to cover his hospital bills, he turned to writing, gradually transforming from an actor into a well-known author While battling a persistent fever of 39 degrees, he produced numerous short stories, despite the challenges posed by the paper rationing imposed by the occupying forces, which forced him to write on scraps of paper, including used envelopes and school notebooks.
In his later years, Burgess (2007: 192) authored several short prose pieces, including notable works such as "The Dog Flower," "Tui Hoo," "The Rats Sleep at Night," "On This Tuesday," "The Kitchen Clock," and "The Bread." He dedicated a remarkable eight days to writing during this period.
In a remarkable burst of creativity, Borchert wrote continuously for 13 hours, resulting in a play titled "A Man Comes to Germany," which was later renamed "Outside the Door" at a friend's suggestion The Hamburg broadcaster quickly accepted it as a radio play, leading to Borchert's overnight success The audience resonated with the stark reality of the bleak and cold times depicted in his work He gained recognition not only from publishers but also from the German Authors' Protection Association Tragically, he penned his final story, "Then There Is Only One," just days before his death in the hospital He passed away painlessly and without struggle on November 20, 1947, shortly before nine o'clock (Burgess 2007: 235).
Shortly after the Nazis came to power, numerous book burnings occurred to destroy "un-German" works by authors on a blacklist, including Karl Marx, Bertolt Brecht, and Thomas Mann Wolfgang Borchert emerged as a cultural guardian during this period, from 1938 onwards.
1940 viele wertvolle und verbotene Bücher aus dem Keller der Buchhandlung Carl Boysen vor der Bücherverbrennung rettete (vgl Wolf 1984: 30)
Borchert significantly contributed to the literary revival in post-war Germany and remains one of the most renowned authors of Trümmerliteratur, despite his limited body of work His play "Draußen vor der Tür," which gave a voice to his generation, continues to be one of the most frequently performed plays in Germany His short stories are studied in schools and actively researched by students and scholars alike In total, he left behind four plays, 51 poems, and over 50 short stories Borchert serves as a role model, embodying a passion for life and an unwavering pursuit of his dreams.
Nam Cao als Vertreter der vietnamesischen Kurzgeschichte
Hintergrund: Die vietnamesische Literatur in der ersten Họlfte des 20
The history of Vietnam in the first half of the 20th century can be effectively divided into three phases: 1900 to 1919, 1919 to 1930, and 1930 to 1945 This division reflects significant societal changes as well as developments in Vietnamese literature during this period.
In the early 20th century, numerous uprisings led by noble and peasant forces emerged in Vietnam, but this anti-French resistance was ultimately suppressed During this period, Vietnam was under French colonial rule and faced additional pressure from the Nguyễn dynasty.
Colonial rule in Vietnam aimed to diminish Chinese characters while promoting French and the Latin script of the national language Newspapers served as tools to disseminate French culture, leading to the emergence of a new intellectual class This group embraced Western cultures and ideologies, advocating for reforms Freedom fighters such as Phan Bội Châu and Phan Châu Trinh emphasized the importance of education, democracy, human rights, and social reform, and were pioneers in modernizing literature Additionally, several industrial enterprises were established, contributing to the growth of small towns.
After World War I in 1919, Vietnam saw the emergence of numerous revolutionary and communist organizations influenced by the October Revolution, attracting participation from intellectuals, factory workers, miners, and farmers Among these was the Vietnamese Nationalist Party, established in 1927, which was structured communistically yet ideologically rooted in Confucianism.
The Communist Party of Vietnam (CPV), founded by Hồ Chí Minh in 1930, systematically led uprisings until the end of French colonial rule From 1940 to 1945, Vietnam was under a dual occupation by French and Japanese forces, during which millions of tons of rice were plundered, leading to severe inflation and the worst famine in Vietnamese history in 1945, resulting in over two million deaths An independent Vietnamese government was established only after the August Revolution in 1945.
The key characteristic of Vietnamese literature in the first half of the 20th century was rapid modernization, which can be divided into three distinct phases From 1900 to 1919, the preparatory phase emerged, marked by conditions that favored modernization During this time, Chinese characters and classical Vietnamese script lost their significance, while the Latin transcription of the national language gained popularity among poets and writers for literary creation The publication of newspapers and translation activities also saw significant development However, literary renewal during this period remained limited, primarily associated with a few authors such as Phan Bội Châu and Phan Châu Trinh.
From 1919 to 1930, Vietnam experienced a transitional period towards modernization, marked by the literary successes of authors such as Tản Đà, Hoàng Ngọc Phách, and Hồ Biểu Chánh, who made significant contributions through their novels and poetry The true modernization of literature began in 1930, leading to profound and widespread changes that continued until 1945 (Lã Nhâm Thìn, 2014).
The modernization of Vietnamese literature from 1930 to 1945 marks a significant period in the first half of the 20th century This era began in 1930, a pivotal moment in Vietnamese history, which greatly influenced literary development.
After Hồ Chí Minh returned from abroad, he became a revolutionary leader and later the Prime Minister of Vietnam in 1945, marking a significant literary divide This divide consisted of official literature, represented by writers like Nam Cao, and unofficial or revolutionary literature, with figures such as Hồ Chí Minh and Tố Hữu Official literature can be further categorized into two styles: Romanticism and Realism Romanticism, which flourished from 1932 to 1935, was prominent not only in the poetry of poets like Huy Cận, Xuân Diệu, Nguyễn Bính, and Hàn Mặc Tử but also in the prose works of authors such as Nguyễn Tuân, Nam Cao, and Ngô Tất Tố.
Selbsthilfegruppe 1 - des ersten Literaturvereins in Vietnam, der 1932 von Nhất Linh gegründet wurde Er war ein Treffpunkt von bürgerlichen Autoren, die sich der Literatur widmen wollten und eine modernisierte Literatur befürworteten Die Vertreter der Romantik kritisierten heftig die altmodischen konfuzianischen Rituale, wollten den damaligen schlechten Zustand des Landes vergessen, flüchteten sich daher in die Literatur und erzeugten für sich selbst eine fiktive Welt, in der sie ihre Gefühle, Traurigkeit, Hoffnungen an das Leben und die Liebe ausdrücken konnten Quellen (vgl Hà Minh Đức 1997: 74f)
The language of Romanticism was often exaggerated, but soon most of the mentioned poets and authors, including Nam Cao, turned to Realism They reflected on everyday life, describing and critiquing the stark realities of Vietnam's semi-feudal and semi-colonial society These two literary trends appeared either separately or, in some cases, were blended together, with authors like Thạch Lam retaining many elements of Romanticism while incorporating Realist themes.
1 In der Ausgangssprache: ,,Nhóm Tự lực văn đoàn“
The Romantic and Realist movements marked a significant renewal in literature, both in content and language They modernized traditional themes such as patriotism, humanism, and heroism, intertwining them with the concept of democracy Patriotism evolved from absolute loyalty to the emperor to a belief that the state belonged to its people Humanism was reflected in stories about the struggles of the poor under the oppression of the emperor and French colonial rule, showcasing their resilience and virtue despite challenging circumstances These individuals were deemed heroes, not for their military accolades, but for their moral strength Additionally, the movements broke away from medieval norms and rules in language, paving the way for more expressive and contemporary forms of writing.
The "Movement of New Poetry" marked a shift where poets embraced free verse alongside traditional forms, moving away from medieval narratives to focus on creativity Prose writers aimed for everyday language that was clear and free from previous symbolic influences Unlike medieval literature, authors of this era confidently expressed their unique styles, resulting in a variety of approaches, such as the melancholic style of Huy Cận, the rural style of Nguyễn Bớnh, the dreamlike style of Lưu Trọng Lư, the passionate style of Xuân Diệu, the extraordinary style of Nguyễn Tuấn, the ironic style of Vũ Trọng Phụng, the modest style of Thạch Lam, and the literary-philosophical style of Nam Cao.
The modernization of literature, particularly in poetry and prose, has progressed rapidly, especially with the emergence of new genres such as short stories, drama, reportage, literary criticism, and memoirs This swift evolution has significantly transformed the literary landscape in a short period.
2 In der Ausgangssprache: ,,Phong trào thơ mới“
Between 1900 and 1945, Vietnamese literature underwent a profound transformation, characterized by rapid development Vũ Ngọc Phan notably remarked that a single year in Vietnam during this period felt equivalent to thirty years in other countries, highlighting the dynamic changes occurring in the literary landscape.
Nam Cao: Leben und Werk
Nam Cao, born Trần Hữu Tri in 1917 in a poor village in northern Vietnam, was the only one of eight siblings allowed to attend school Due to his frail health, he had to stay home after finishing middle school to rest At 18, he married a 17-year-old woman but left his family a month later to move south to Saigon, where he worked as an assistant in a tailor shop.
2.2.2.2 Nam Caos literarische Karriere vor 1945 (1936 – 1945)
Nam Cao's literary career began in 1936 during a transformative period for Vietnamese literature, characterized by rapid development and modernization influenced by the New Poetry movement At that time, he worked as an assistant in a tailoring shop, experimenting with short stories to earn some income His early works, such as "The Last Scene" and "Two Corpses," were published in newspapers and were heavily influenced by Romanticism After three years, he relocated from Saigon to Hanoi, where he took on a teaching role at a private school His talent gained recognition in 1941 with the release of his first collection of short stories, marking a significant milestone in his writing journey.
4 In der Ausgangssprache: ,,Cảnh cuối cùng“
5 In der Ausgangssprache: ,,Hai xác chết“
Nam Cao, a prominent Vietnamese author, shifted from romanticism to realism in his short stories, focusing on the struggles of impoverished farmers and the plight of the destitute petty bourgeoisie during wartime His vivid and sincere descriptions highlighted the hardships and crises faced by Vietnamese society at the time In 1943, he joined the Cultural Association for National Liberation, which put him at risk of persecution by colonial authorities The closure of the private school where he taught by the Japanese in 1944 left him unemployed, leading him to return to his hometown, where he endured a difficult life and penned two notable novels.
Die Geschichten der Nachbarn 8 und Das sterbende Leben 9 (vgl Nam Cao Schule) 10
2.2.2.3 Nam Caos literarische Karriere nach 1945 (1945 – 1951)
Under the influence of the August Revolution in 1945, Nam Cao decided to participate in the power takeover, becoming the chairman of the new government in his community However, he lost his position after a few months and returned to the capital in 1946, where he engaged with the Cultural Association for National Liberation before traveling south again for reporting In the fall of 1947, he was sent to North Vietnam as an editor and secretary for the newspaper National Liberation In 1948, he was admitted to the Communist Party of Vietnam.
6 In der Ausgangssprache: ,,Đôi lứa xứng đôi“
7 In der Ausgangssprache: ,,Hội Văn hóa Cứu quốc“
8 In der Ausgangssprache: ,,Truyện người hàng xóm“ (1944)
9 In der Ausgangssprache: ,,Sống mòn“ (1944)
10 Webseite der Nam Cao Sekundarschule: http://thcsnamcao.hanam.edu.vn/tieu-su-nha-van-nam-cao [Zugriff 05.12.2015]
11 In der Ausgangssprache: ,,Cứu Quốc“
1951 wurde er auf einer Dienstreise von den franzửsischen Truppen ỹberfallen und erschossen (vgl Phạm Đình Ân 2009: 326)
Nam Cao dedicated just 15 years to literature, yet he remains one of the most renowned authors in Vietnamese literature from the first half of the 20th century His significant contributions to the emerging genre of short stories highlight his pivotal role in its development in Vietnam, establishing him as a leading figure in this literary movement.
Realism is at the core of the renowned works "Das sterbende Leben" and the short story "Chí Phèo," both essential readings His writings are frequently included in school curricula and are the subject of literary research In total, he has left a legacy of a play, two novels, and 56 short stories for future generations.
The German and Vietnamese short story share a common origin, with some scholars suggesting that this literary form emerged from Great Britain in the 19th century, while others argue for an American origin Historically, the short story is recognized as an international genre, often attributed to American writers like Edgar Allan Poe, Ernest Hemingway, and William Faulkner, who are considered influential models for European authors and have set a standard for imitation worldwide.
(Kilchenmann 1967: 10) In vietnamesischen Schulbỹchern wird allgemein erwọhnt, dass dieses Genre einen westlichen Ursprung habe, aufgrund der Zunahme von Druckerzeugnissen im 19 Jahrhundert und der Leseinteressen der westlichen Intellektuellen
The German term "Kurzgeschichte" is a loan translation of the Anglo-American term "short story," but it only partially aligns with the English definition, as "short story" can also include longer narratives like novellas (see Marx 2005: 1) In Vietnamese, it is referred to as "truyện ngắn," which is also a loan translation.
Short stories are concise narratives where the author portrays a central event, revealing the fate of the characters and implicitly expressing their views on life and societal conditions Historically, in China and Japan, short stories were regarded as brief novels Notable short story writers include Edgar Allan Poe.
Prominent authors throughout history include figures such as Leo Tolstoy (1828–1910), Anton Chekhov (1860–1904), and William Faulkner (1897–1962), alongside influential German writers like E.T.A Hoffmann (1776–1822) and Franz Kafka (1883–1924) The "young generation" of German literature features notable names such as Heinrich Böll (1917–1985) and Wolfgang Borchert (1921–1947) In Vietnam, the first short story was penned by Phạm Duy Tốn in 1918, followed by works from authors like Nam Cao (1917–1951), Vũ Trọng Phụng (1912–1939), Kim Lân (1920–2007), and Nguyễn Minh Châu (1930–1989).
(1903 – 1977) groòes Publikum (vgl Hà Minh Đức 1997: 75ff) Die folgenden Teile beschrọnken sich auf Merkmale deutscher und vietnamesischer Kurzgeschichten vor 1954.
Typische Merkmale der deutschen Kurzgeschichte
Typische Merkmale der deutschen Kurzgeschichte bestehen in Kürze, Stoff, Still, Erzọhlraum, Figuren, Titel, Anfang und Schluss, Zeit und Struktur
Manche Zeitungen und Wettbewerbe haben früher versucht, eine Grenze von Seiten oder Druckzeilen für publizierte oder teilnehmende Kurzgeschichten zu setzen Versuche, die maximale Lọnge oder Wortanzahl zu bestimmen, bleiben
23 unbefriedigend, weil ,,Kürze“ ein relativer Begriff ist Man sollte eine
A short story, when compared to other literary forms such as novels, novellas, and narratives, reveals the significance of "short" in both content and structural design (Anne-Rose 2004: 15) For instance, a writer typically dedicates two weeks to a month to crafting a short story, while a novel usually requires a commitment of at least a year (Rohner 1973).
A study of 227 German short stories revealed that the average length is 8 pages, with the longest story spanning 20 pages Most short stories are ideally between 4 and 8 pages long In the immediate post-war period, stories tended to be very concise.
2 bis 5 Seiten vor, bei Borchert waren es im Schnitt 5 Seiten (vgl Rohner 1973: 155ff) Das Brot ist wahrscheinlich eine der kürzesten Kurzgeschichten von
The material primarily draws from the realm of everyday life conditions, addressing crises and conflicts that arise in daily existence It focuses on the small world of individuals, illustrating human experiences during challenging life phases (cf Marx 2005: 57f) Authors of Trümmerliteratur aim not to instruct or provide historical knowledge but to reveal the truth Their works, which discuss war, the pre- and post-war periods, and the altered daily life due to political influences, as well as childhood experiences, are characterized as documentary "Das Brot" serves as a testament, a firsthand account of a famine (Rohner 1973).
The language of short stories is characterized by its simplicity, conciseness, and vivid imagery While the colloquial word choice may initially appear unrefined, it is deliberately employed to convey the normality and authenticity of everyday life Short story writers tend to avoid elevated styles, shun metaphors, and favor straightforward sentence structures, particularly parataxis, conjunction-less phrases, verb-less elliptical sentences, and direct speech.
24 dialogische Darstellung (vgl Marx 2005: 59) Kein erửrternder Kommentar, ein Minimum an Beschreibung, Schilderung, Reflexion ist zu sehen (vgl Rohner 1973:
The fictional narrative space primarily serves as the backdrop for the events of the story Typically, the number of settings is limited, and changes in location are avoided This space provides a glimpse into a larger context and is often established early in the short story Frequently, the narrative unfolds in remote, confined, or isolated environments such as rooms, train stations, or ships.
Short stories often feature a limited number of characters, typically three, including the first-person narrator These characters are not idealized figures but rather average individuals we encounter in everyday life They are briefly sketched, usually possessing a distinctive and meaningful trait in their appearance However, their thoughts and feelings are generally not elaborated upon (cf Marx 2005: 61).
The titles of short stories often possess an ambiguous or puzzling nature, which serves to generate interest and tension (Brosch 2007: 64) Rohner identifies four categories of titles: object titles, situation titles, character titles, and action titles (Marx 2005: 63) Additionally, complete sentences as titles are particularly popular, especially in the works of Borchert, who has 15 sentence titles (Rohner 1973: 135) Borchert also frequently employs lyrical titles, such as "The Long Long Street" and "The Many Many Snow." Object titles are less common in his work, with "The Bread" being a notable exception.
Der Anfang einer Kurzgeschichte ist jọh und knapp ,,Schon vor dem ersten Satz
The narrative immerses readers directly into the unfolding events without providing guidance, as noted by Marx (2005: 64) Characters are frequently introduced solely through pronouns, leaving their names and further details undisclosed at the outset This approach creates an immediate connection to the story's core.
In many short stories, the tension persists until the very last sentence, often culminating in a single, terse statement This technique is particularly favored by authors like Borchert, who frequently employs a succinct, impactful opening and a similarly concise conclusion.
Notably, the issues and conflicts presented remain unresolved by the end of the work, leaving the reader in a state of unease due to the author's open-ended questioning Additionally, there is often a parallelism between the beginning and the conclusion, achieved through various auditory, rhetorical, or semantic connections.
The structure of short stories typically follows a linear progression towards a climax or resolution, consisting of three key situations: the initial situation, a middle situation where a change occurs, and a concluding situation However, some short stories, such as "Die Küchenuhr," are told in reverse, while others employ a timeless narrative that organizes the story's timeline based on associative ideas in the inner monologue of a first-person narrator Regardless, the narrative time is limited, often encompassing only a full or half day, or even just a few hours Consequently, short stories cannot depict long periods of their characters' lives but can only imply them, much like a painting or photograph suggests a biography The narrative time is inherently brief.
Typische Merkmale der vietnamesischen Kurzgeschichte
Due to the prolonged wars against the French and Americans and the underdeveloped economy in the 20th century, comprehensive studies on the discussed text type in Vietnam remain scarce Additionally, during the 20th century, access to Soviet and Chinese literature was more available to Vietnamese authors than to Western literature Overall, it can be stated that Vietnamese short stories share similar characteristics with German short stories.
Die Lebensumfelder von vietnamesischen Kurzgeschichten sind auch Zeitungen oder Zeitschriften Sie bestimmen die Kỹrze einer Kurzgeschichte von ungefọhr
3000 bis 5000 Wửrtern (vgl Đỗ Ngọc Thạch 2010: 7) Anfang und Schluss sind auch sehr knapp Die durchschnittliche Seitenanzahl von Nam Caos Texten schwankt von drei bis fünf Seiten (vgl Bích Thu 1998: 440)
Vietnamese short stories explore themes that encompass both personal lives and pressing social issues, including famine, war, the erosion of values, and moral deviation These topics remain highly relevant today, prompting writers to adapt to social changes and adopt new perspectives (Đỗ Ngọc Thạch 2010: 2).
The language in short stories is concise, diverse, and suggestive, requiring careful consideration In addition to the narrator's voice, the inner monologues of characters often reveal their thoughts It's important to note that short stories possess lyrical qualities, such as repetitive structures The events are typically straightforward, with authors focusing on a central theme that leaves a strong impression on readers Tension is built throughout the narrative, leading readers to anticipate a resolution to the conflicts presented by the end.
2), jedoch ist ein offenes Ende họufig zu finden
In short stories, characters are typically limited to a main character and two or three supporting figures, with authors focusing on a single defining trait rather than extensive character development The fate of these characters is often revealed through their appearance, language, and actions Additionally, a character may symbolize a social group (Đỗ Ngọc Thạch 2010: 2) In the works of Nam Cao, characters are frequently portrayed as ugly, pessimistic, and extraordinary individuals, reflecting the heavy burdens of life implicitly (Bích Thu 1998: 419f).
Der Erzọhlraum in vietnamesischen Kurzgeschichten ist auch begrenzt Die
Authors often convey significant themes through minimal descriptions, focusing on moments that resonate deeply with readers The narrative time can span as little as 15 uninterrupted minutes, yet it leaves a profound impact after reading In Nam Cao's works, the setting is typically confined to rural areas or small villages, where individuals with diverse destinies coexist The stories predominantly unfold within the modest confines of a small house or room belonging to a rural family.
The short story is a challenging literary form that poses a significant challenge for all writers It is particularly well-suited to modern life, where the fast-paced nature of daily routines leaves little time for reading Many people only have time for newspapers or magazines, often spending more hours on social media Consequently, there has been a rise in short story writing competitions aimed at maintaining public interest in reading.
4 Analyse und Interpretation ausgewọhlter Texte
,,Armut“ war wie oben erwọhnt ein typisches Thema in der deutschen Trümmerliteratur und der vietnamesischen Literatur vor 1945
The prose work of Borcherts primarily explores themes of war and homecoming, with a limited focus on short stories addressing poverty Instead, the backdrop of his prose often highlights dire situations, particularly famine, which is briefly mentioned in works such as "The City," "The Crows Fly Home in the Evening," and "The Coffee is Indefinable." It is important to note that poverty is frequently intertwined with these narratives.
The portrayal of soldiers and veterans often emphasizes their hunger and longing, as seen in works like "Four Soldiers," "The Long Long Road," "Voices Are There – In the Air – in the Night," and "The Three Dark Kings." These narratives highlight the emotional and physical struggles faced by those returning from conflict, capturing their yearning for home and the challenges they encounter.
Borchert's short stories, particularly "Das Brot" and "Die Kirschen," poignantly reflect the hunger experienced by German citizens after World War II These works are quintessential examples of rubble literature, vividly portraying the poverty in Germany Written in 1946 and published in the Hamburger Freien Presse, "Das Brot" tells the story of a woman navigating the harsh realities of post-war life.
One night, a woman catches her husband secretly eating bread in the kitchen "The Cherries" is essentially a variation of "The Bread," written in 1947, and tells the story of a father-son relationship When a sick son hears something breaking in the next room, he suspects his father of having eaten his cherries, which were set aside to help reduce his fever.
Nam Cao's pre-1945 short stories predominantly explore the theme of "poverty," focusing on the struggles of intellectuals and working-class individuals His most notable works include the story "Chí," which vividly depicts the harsh realities of a hungry life.
Analyzing the works of Nam Cao, including "Phèo," "Der Hac," "Der helle Mond," and "Das grundlose Leben," reveals the complexity of his themes It is challenging to focus on a single short story to fully explore these topics, as a comprehensive understanding requires examining a broader range of his prose However, such an extensive analysis would exceed the scope of a typical bachelor's thesis.
This article focuses on the exploration of poverty within the working class, analyzing one short story from each selected author A detailed examination of both the content and form of these chosen texts will be conducted.
Das Brot von Wolfgang Borchert und Một bữa no (Die sọttigende Mahlzeit) von
Nam Cao's short story "Một bữa no," while not the most famous of his works and often overlooked by literary critics, shares significant similarities with "Das Brot." Both stories exhibit commonalities in their titles, characters, and underlying messages, highlighting themes that resonate deeply in their narratives.
12 In der Ausgangssprache: ,,Lão Hạc”
13 In der Ausgangssprache: ,,Trăng sáng”
14 In der Ausgangssprache: ,,Đời thừa”
I will conduct a detailed analysis and interpretation of the selected texts, incorporating examples from other prose works by both authors, such as "Die Kirschen" and "Die Küchenuhr." The analysis will focus on the stylistic features of the texts to highlight the typical characteristics of the short story genre Finally, I will compare the two texts to draw meaningful connections and contrasts.
Das Brot
Inhaltsangabe
In the early hours of the morning, a woman is awakened by a noise in the kitchen and discovers her husband missing from their bed Upon investigating, she catches him secretly eating rationed bread, with crumbs and a knife on the table Despite the evidence, he denies it, claiming he was just checking after hearing a sound In this awkward moment, both appear slightly older than usual, and although she is troubled by his lie, she feigns ignorance to avoid embarrassing him, expressing concern for his health instead They conclude that the noise was likely from the gutter outside and return to bed, where she later hears him quietly chewing and drifts off to sleep The next day, she offers him a slice of her bread, pretending she cannot eat it, as they both avoid eye contact, with her shifting away from the light and him leaning over his plate.
Aufbau
Diese Kurzgeschichte kann in drei Teile unterteilt werden
The opening section of the article immerses the reader in the couple's bedroom, where a woman abruptly wakes up to an unsettling noise coming from the kitchen, realizing her husband is missing This sudden shift captures her confusion and concern about his absence in the middle of the night The repeated mention of the time "half past two" and the description of the eerie silence—"It was quiet It was too quiet [ ] so particularly quiet"—creates a tense, nocturnal atmosphere, highlighting the unusual nature of the situation and building suspense The time "half past two" is also referenced in the short story "The Kitchen Clock."
The scene is vividly recalled by the protagonist, who fondly remembers the moment he returned home to find his mother turning on the light and preparing a meal, a beautiful memory that is repeated twelve times The unusual time of the event, highlighted by the clock, signifies a rare occurrence The repeated mention of the kitchen piques curiosity, suggesting something surprising is happening there As the woman turns on the light, she faces her husband, and the sense of disbelief and absurdity of the situation is palpable in the final, incomplete sentences: "At night At half-past two In the kitchen." This marks the end of the first section.
The unexpected nighttime encounter in the kitchen and the couple's conversation are detailed in the second part of the article, from lines 11 to 52 What she perceives as something white at the kitchen table is actually her husband, who stands before her in a white shirt The sequence of sentences is constructed both in parallel and chiastic forms, featuring a consistent verb, highlighting the imagery of the knife still resting beside the plate and the cloth laid out on the table.
Brotkrümel [ ] Aber nun lagen Krümel auf dem Tuch Und das Messer lag da“ (Z
The kitchen scene not only serves to describe the setting but also reflects the woman's perspective and thoughts She is clearly surprised and needs to reassure herself, as this experience is unprecedented for her Initially, she feels the chill of the cold tiles creeping up her body, suggesting that her statement, "You should have worn shoes Walking barefoot on the cold tiles is risky," stems from her concern for her health.
The narrative subtly conveys a tense moment between a husband and wife, where the husband's bare feet on the cold tiles suggest a secretive act, as he waits for his wife to fall asleep before sneaking into the kitchen The wife's avoidance of eye contact and her reaction to his lie after thirty-nine years of marriage highlights her deep emotional turmoil Their silent exchange, marked by the realization of their aging, underscores the passage of time in their relationship, often leading to a familiarity that blinds them to each other's changes The husband's awkward attempt to explain his presence, repeating his uncertain response, reveals his insecurity and the discomfort of being caught in a lie Instead of offering a straightforward explanation for his actions, he reacts childishly, searching for words, while the wife quickly regains her composure after initially being shocked by his deceit.
32 vom Tisch und schnippte die Krỹmel von der Decke“ (Z 27f) Sie ửffnet ihm einen
The couple's dialogue is vividly portrayed, with the narrator shifting between their thoughts, revealing their intense emotions, particularly the wife's The repetition of the word "plate" indicates her internal conflict and feelings of offense as she grapples with her husband's actions They notice the rain gutter hitting the wall in the wind and cautiously navigate the dark corridor to their bedroom A comparison of this couple's interaction with the dialogue between the boy and his father in "Die Kirschen" highlights similarities in their caring yet anxious behaviors Despite her disappointment, the wife tries to mask her anger and prioritize her husband's well-being, while the father, surprised by his sick son's arrival, conceals his shock to comfort him The key difference is that the wife is aware of her husband's deception but chooses to remain silent, whereas the father is oblivious to his son's suspicions, leading to a lack of understanding between them.
Auf dem Weg zum Schlafzimmer und im Bett wiederholt der Mann immer noch, dass seine Frau vửllig Recht hat: ,,Wind ist ja [ ] Wind war schon die ganze
In the quiet of the night, the man pretends to be half-asleep in bed, possibly feeling uncertain and eager to end the conversation quickly He waits for his wife to fall asleep before quietly chewing a piece of bread, which she seems oblivious to as she breathes deeply and evenly The irony lies in the fact that her falling asleep to the monotonous sound of his chewing highlights his secretive act of eating bread for the second time, this time with greater caution to avoid detection The wife's slumber marks the conclusion of the second part of the short story.
In the final part of the story, set the day after, the woman offers her husband a slice of her rationed bread, giving him twice as much as herself This unusual behavior is justified by her claim that she cannot tolerate bread well in the evening Both characters avoid eye contact; he bows his head over his plate, unable to thank her, while she moves away from the light The reader learns that she repeatedly expresses her aversion to the bread, attempting to convince him not to eat it After a while, she returns and sits under the lamp at the table, marking the end of the story It remains unclear whether the man apologizes to her for the earlier situation in the kitchen.
Motive
Es lọsst sich sehen, dass einige kleinere stoffliche Einheiten im Text mehrmals wiederholt werden, z.B die Kỹche, das Licht, die Kọlte, welche eine groòe sinntragende Bedeutung haben
The kitchen serves as the central action space in the short story, symbolizing the warmth, comfort, and happiness of a family In many cultures, it represents the woman or mother, who typically expresses her love by cooking for her partner and children, nurturing family bonds and the flame of love The act of the man secretly eating bread in the kitchen signifies a clear violation of his wife's love.
Teller, welcher das Zusammenessen bzw die Zusammengehửrigkeit symbolisiert
In der Kurzgeschichte Die Kỹchenuhr wird die Kỹchenuhr als ein runder weiòer
Teller beschrieben, was ebenfalls auf die Geborgenheit und Liebe der Mutter hinweist Das Messer, das neben dem Teller liegt, wurde von dem Mann als ein
The act of using a knife to cut bread not only confirms the man's wrongdoing but also poses a threat to his relationship, as he endangers his close bond with his wife while holding the knife The underlying cause of his poor behavior is linked to the bread and the hunger it represents.
A central theme in the article is the contrast between light and darkness, symbolized by the kitchen lamp, which serves as the sole source of illumination This small and weak light barely brightens the kitchen table, highlighting its insignificance against the surrounding darkness The pervasive darkness represents secrecy, fear, and loneliness As the man secretly eats bread in the dark kitchen, the woman awakens and navigates the shadowy apartment, drawn by a mysterious noise, creating a tense atmosphere.
In the story, the couple navigates the dark corridor to their bedroom, where the man quietly chews in the shadows The light switch serves as a boundary between light and darkness, symbolizing truth as the woman turns it on, briefly illuminating the kitchen scene This moment reveals the man's secret actions, the aging of both partners, their long-standing relationship, the man's shame, and the woman's love The interplay of light and darkness signifies a thrilling adventure that transitions from silence to brightness and back again, reflecting the fine line between lies and truth, often difficult to discern in life, much like a person's face Additionally, this post-war narrative highlights the struggles of ordinary people, suggesting that the shift between light and dark may represent the divide between hope and reality While the harsh realities of post-war life may overshadow people's hopes, the story ultimately reveals a glimmer of light at the end of the tunnel.
The coldness associated with darkness creeps up from the tiles, affecting the woman inside A comparison between the outdoor chill, driven by the wind, and the indoor cold reveals that the latter symbolizes the emotional distance in her relationship This coldness reflects the woman's feelings of alienation, stemming from her partner's lack of trust and openness.
Die Personen und ihre nonverbalen Handlungen
In dieser Kurzgeschichte gibt es nur zwei Personen: den Mann und die Frau Wir erfahren kaum etwas von ihrem Aussehen sondern nur, dass sie ein altes Ehepaar
36 sind und der Mann 63 Jahre alt ist Obwohl sie wenig beschrieben werden, kann man trotzdem durch ihre Handlungen etwas über sie erfahren
The woman is depicted as meticulous, always cleaning the tablecloth before going to bed, which highlights her attention to detail Her caring nature is evident as she worries about her husband catching a cold by going barefoot and insists he should wear slippers Her disappointment in him is palpable; she avoids eye contact because she cannot bear his lies, showcasing her honesty and sensitivity Despite Borchert’s lack of verbal expression regarding her feelings, her nonverbal actions reveal her selfless character.
The woman turns away from the plate and avoids looking at her husband, pretending not to notice his actions to spare his feelings While society often views women as weak and sensitive, she demonstrates strength by suppressing her own hurt and refraining from confronting him about his wrongdoing, recognizing his vulnerability and feeling pity for him By turning off the kitchen light and remaining silent, even as she hears him chewing in bed, she accepts his lie and lets go of her pain The following evening, she continues to act kindly, offering him a slice of bread that belongs to her, moving away from the lamp, which may indicate her attempt to hide her emotions or signal her awareness of the situation This gesture could be her way of expressing love and support, allowing him to no longer eat secretly while avoiding words that might hurt him, silently punishing him instead.
37 ihn zum ĩberlegen bringen Dass sie sich spọter wieder an den Tisch setzt, ist ein Indiz fỹr ihre Versửhnlichkeit
In general, it can be said that the woman embodies typical characteristics of a traditional female archetype This type is also present in other short stories by Borchert, such as in "The Kitchen Clock."
The protagonist's mother is portrayed as a calm and caring figure who waits for her son until half-past two, preparing meals for him This depiction may reflect the characteristics of Borchert's own mother.
The man in the narrative is characterized minimally, displaying poor behavior but not being inherently evil; he feels embarrassed when caught and stands awkwardly before his wife He appears to be a simple and inhibited individual, lacking the courage to justify his actions or meet her gaze, as he looks around the kitchen and towards the window Ultimately, he bows deeply over his plate, overwhelmed by shame for having stolen both the bread and his wife's trust He reflects on his deceit and the profound love she has for him This deep bowing mirrors the boy's action at the end of the story "The Cherries," where he hides his head under the blanket, feeling shame for his suspicions towards his father and unable to look him in the eye.
In this intriguing story, the focus is on a couple who engage in a role reversal, both embodying the role of deceivers The man is caught lying by his wife in the dark and then exposed under the kitchen light, highlighting the theme of truth versus deception The following day, the woman is caught in her own lie by her husband, but she chooses to deceive him in the dark, claiming she cannot digest the bread well This repetition of lies, with switched roles, emphasizes the complexity of their relationship and the notion that truth often emerges in the light, while deception thrives in darkness.
38 hin, dass es nur eine Not-Lüge ist Sie lügt, weil sie ihn liebt und ihn nicht verletzen will
Freydank (vgl 1964: 88) unterteilt die Figuren in Borcherts Kurzgeschichten in vier Gruppen Die zweite Gruppe bezeichnet er als ,,paradigmatische, unindividuelle
Charaktere“ Die zwei Hauptpersonen der Kurzgeschichte passen zu dieser Gruppe
The characters in the story are unnamed and referred to simply as "he" and "she" or as "the man" and "the woman," representing average individuals in society Their narrative serves as a generalization, illustrating that they are neither inherently good nor bad, but are significantly influenced by their circumstances (Kaszynski 1970: 31) This ambiguity makes it difficult to discern who is virtuous and who is not Additionally, Borchert subtly conveys the man's innocence through his white shirt, suggesting that the true culprit is not the individuals themselves, but rather the war that shapes their actions.
Stilistische Merkmale
Das Brot hat typische stilistische Merkmale der Textsorte „Kurzgeschichte“, unter anderem:
This short story consists of only 733 words or 3 pages, while the complete work spans 371 pages As previously mentioned, Borchert's narratives typically average around 5 pages in length, indicating that "Das Brot" is one of his more concise tales.
Kyrze's narrative style is evident at both the beginning and end of the story, which starts abruptly without an introduction The first two sentences, "Suddenly she woke up It was half past three," immediately establish the protagonist's state and the time, without providing prior context about her or her surroundings As the story unfolds, the setting is revealed later on Additionally, a characteristic abrupt ending is present, as the story concludes with a single sentence: "Only after a while did she sit down under the lamp at the table."
Interpreters believe that the short story has an open ending, as the communication issues between the two main characters remain unresolved, and the subsequent events in the couple's life are not revealed However, Horst Brustmeier (1966: 162) disagrees, viewing the woman's actions as a reunion of the couple and a triumph over loneliness and separation, which he considers a happy ending for the story.
Das Brot enthọlt viele Wiederholungen der Schlỹsselbegriffe, welche die
Leitmotive der Geschichte sind Die Anzahl der Wiederholungen:
Der Wind/ drauòen/ die Dachrinne: 12 (Z 30, 32, 36, 37, 38, 41, 42, 43, 44)
The repeated phrase "I thought there was something here" reflects the man's anxiety throughout the narrative Additionally, the story concludes by revisiting the initial nighttime atmosphere, once again shrouded in silence and darkness.
The short story features a title, which is notably rare in Borchert's works Interestingly, the narrative "Die Kirschen," also focused on the theme of "poverty," similarly includes a title This suggests a unique approach to storytelling within Borchert's oeuvre.
"The Bread" is a succinct, ambiguous, and enigmatic term that evokes a scenario likely related to bread and hunger In the German language, bread is not only a staple food but also symbolizes a person's livelihood, as expressed in the common phrase "to earn one's bread."
Somit weckt der Titel in dem Leser sofort eine Assoziation des Lebens der Deutschen in der Nachkriegszeit bzw der Armut
The language of this story appears childlike, naive, and unadorned, focusing on everyday objects described with simple terms such as bread, plate, and lamp It includes uncomplicated compounds commonly used in daily life, like kitchen table, bread plate, and crumbs Additionally, Borchert avoids extravagant and unnecessary adjectives, emphasizing the starkness of the setting through the repetition of key descriptors like "dark," "cold," and "silent," alongside other adjectives such as "old" and "bare."
,,wach”, ,,regelmọòig” sind auf den Wortschatz eines Grundschỹlers begrenzt
Borchert erzọhlt die Geschichte mit einfachem Satzbau, der typisch fỹr den
The "Kahlschlagstil" is characterized by the frequent use of ellipses and incomplete sentences, along with interjections like "Oh, I see!" and "At half past two In the kitchen." It also includes isolated one-word statements such as "At night." A significant portion of the narrative consists of colloquial dialogues between the couple, where the main characters employ laconic and direct expressions, such as "I thought there was something here," "That was probably outside," and "Come on." The text primarily features concise main clauses and main clause sequences, with only 14 complex sentences present.
In the text, Borchert employs short, impactful sentences, with the longest containing only 20 words: "It was too quiet, and when she ran her hand over the bed beside her, she found it empty." While he could have connected many sentences, he opts for separation, creating a rhythm while maintaining the content's coherence For example, he writes, "She did not look at him because she could not bear that he was lying That he was lying after thirty-nine years of marriage." The coordinating conjunctions used are limited to "and" and "but." Overall, it can be concluded that Borchert’s style effectively enhances the emotional weight of the narrative.
The language and sentence structure enhance the impression of simplicity, aligning with the stark style of rubble literature; this writing style effectively complements the portrayal of the impoverished individuals depicted in the text.
The story follows a strictly linear structure, beginning in the middle of the night and concluding the next evening, encapsulating less than 24 hours of narrative time This limited timeframe creates a sense of a life moment captured in time, allowing readers to glimpse the protagonists' fate through a singular scene Although the narrative is presented in the past tense (Präteritum), it unfolds with a sense of immediacy akin to the present The setting is equally confined, primarily taking place in the bedroom, kitchen, and possibly the corridor, with the couple's city of residence remaining unspecified, though likely somewhere in Germany.
Bedeutung der Kurzgeschichte
Brustmeier categorizes this short story as a "fate short story" within the "content type," specifically highlighting the "type with the motif of endurance." He argues that the focus is on individuals facing an impending fate, yearning to escape their degrading and desolate existence The characters exhibit both suffering and hope for a better future; however, their weakness makes it impossible to combat their fate A closer examination of the man in the story supports Brustmeier's perspective The couple represents not just themselves but many couples among the impoverished Germans in the post-war era Borchert intentionally omits a specific location for the couple, suggesting that such individuals can be found throughout Germany.
Die Kurzgeschichte ist ein Protokoll des Augenzeugen der grausamsten Nachkriegszeiten Sie erlọutert die unerbittliche Armut der Menschen, wobei eine
A slice of bread or a cherry can be the most precious and valuable items, as they are rare and difficult to obtain People become obsessed with food, facing moral challenges that reveal their weaknesses and ethical deviations; for instance, material need can drive a person to lie and steal Many families endure living in darkness and suffering from the cold, with some having only "a sweet, crumbly wood" that provides a flicker of warm light Author Wolfgang Borchert experienced this hardship firsthand, writing extensively to afford food and hospital bills Additionally, the communication struggles between couples highlight the emotional suppression common in post-war times, leading many authors to use writing as their sole means of expressing their feelings.
The narrative raises questions about marriage and fidelity, highlighting how the man fails to fulfill his role as a provider, taking advantage of a situation that ultimately harms his wife, for whom he bears significant responsibility Despite her own hunger, she chooses to feed him, finding joy in his satisfaction This act illustrates that human existence is not solely reliant on physical sustenance but also on true love, empathy, sharing, and self-sacrifice True unity is achieved when individuals prioritize the needs and desires of others above their own.
Kaszynski (1970: 105) classifies "Das Brot" as an anti-war story, highlighting a strong anti-war sentiment throughout the narrative despite the absence of explicit references to war In this short story, Borchert conveys that war is a fundamental cause of poverty, communication breakdowns, and moral deviations among people.