Bildgedächtnis und Bildkritik in der deutschsprachigen Prosa seit 1945 (H. Böll, A. Duden, K. Drawert, U. Hahn)

Geier, Andrea

doi:10.1179/007871908x371739

Oxford German Studies

2008

DOI: 10.1179/007871908x371739

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Bildgedächtnis und Bildkritik in der deutschsprachigen Prosa seit 1945 (H. Böll, A. Duden, K. Drawert, U. Hahn)

Andrea Geier¹

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2020

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Ellipsis as Resistance in Heinrich Böll's “Wanderer, kommst du nach Spa…” (1950)

Bjornstad

2020

The German Quarterly

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One of the most salient features of Heinrich Böll's short story “Wanderer, kommst du nach Spa…” (1950) is its prominent and liberal use of typographical ellipsis. The ellipses that permeate this wartime story both underline the theme of loss and enable the narrator to use his tale to exercise one last measure of resistance to his fate. As part of a first‐person narrative, the ellipses can be read as an assertion of narrative authority and authenticity. Through the refusal to say certain words and phrases and by rejecting physical and chronological restrictions, the young narrator rejects Nazi ideology and creates for himself a limited yet meaningful sense of freedom. His resistance is mirrored by the final image of the text, an indelible cross on the wall which, like a textual ellipsis, persistently marks that which has been erased.

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Ellipsis as Resistance in Heinrich Böll's “Wanderer, kommst du nach Spa…” (1950)

Bjornstad

2020

The German Quarterly

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Bildgedächtnis und Bildkritik in der deutschsprachigen Prosa seit 1945 (H. Böll, A. Duden, K. Drawert, U. Hahn)

Cited by 1 publication

References 2 publications

Ellipsis as Resistance in Heinrich Böll's “Wanderer, kommst du nach Spa…” (1950)

Ellipsis as Resistance in Heinrich Böll's “Wanderer, kommst du nach Spa…” (1950)

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