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• 来自网友【PEON】的评论匆忙写的，没有edit,，有语法问题或拼写错误请见谅。 The Legend of Rita (German title: die Stille nach dem Schuss) is a German film, released in 2000, directed by Volker Schlöndorff. The film tells the story of Rita Vogt, a member of the extreme left-wing terrorist group, Red Army Faktion (RAF). She is responsible for bank robbery, breaking into a prison to rescue her partner and killing a policeman when she is in exile in France. She then finds her place in East German, where she is provided with a new identity by the Stasi. Rita decides to stay in East Germany although her partners decide to leave because she believes East Germany is the country where her political ideal is fulfilled. Barbara was released in 2012, directed by Christian Petzold. In the 62nd Berlin International Film Festival in 2012, where Christian Petzold was awarded the Silver Bear for the Best Director. The protagonist, Barbara Wolff, is a doctor who used to work at The Charité – Universitätsmedizin Berlin, the oldest and most prominent hospital in East Berlin. She is transferred, in fact, demoted, to a clinic in a small village in Northern East Germany and makes the Stasi watch list, because she expressed her wish to go to the West. In the village, she meets Andre, a doctor at the clinic she works at. He is supposed to watch Barbara and report her activities to the Stasi agent in the village. Also, she meets Stella, a girl who was detained at the Torgau Juvenile Workhouse for an unknown reason, Barbara’s former patient, for whom Barbara sacrifices her opportunity to run away to the West. The Legend of Rita and Barbara are both post-reunification German films about the former German Democratic Republic (GDR) and they both attempt to challenge the conventional west-centric discourse of the memory of the GDR in media with different approaches. East Germany is also stereotypically presented as simply Stasiland, with no freedom of speech, failed political system, economically and socially backward. Even though Schlöndorff tried to avoid the conventional West-triumph-over-east narrative, the Legend of Rita still taps into many East German stereotypes. On the other hand, Barbara reconstructs a more realistic GDR in colour and presents a more complex set of characters in the former socialist state. The Stasi is commonly seen as the dominant ruling power over the East German people. The East German people are simply seen as the victims of the state apparatus. The most well-known film about former East Germany is the Lives of Others, directed by Florian Henckel von Donnersmarck. The film won the 2006 Academy Award for Best Foreign Language Film. It also had won numerous awards elsewhere, including Deutscher Filmpreis for the best film, best director, best screenplay, best actor, and best supporting actor. The Lives of the Others sets paradigm of the public discourse of the former GDR. It is so successful because the film reconstructs former East Germany as a dark oppressive country in which people have no freedom of speech. The streets seem dark and grey. Donnersmarck uses an extra-diegetic soundtrack frequently to create the oppressive and unpleasant environment of GDR and guide the thought of the audience further into seeing the GDR as the oppressive force over the population. The Lives of the Others harshly criticize the former East German socialist regime and clearly demonstrate the simplistic binary of the state as the perpetrator and the free-loving people as the victim. Additionally, the narrative of the Lives of the Others exudes optimism towards the reunification in 1989. (Cooke 2011) The end of the socialist regime marks the liberation of people, including the artists. Dreyman’s new play featuring an African-German actress marks progress in anti-racism. The Lives of the Others emphasizes the Stasi as the powerful tool of the state machine overseeing and controlling the people all the time. Their networks are ubiquitous in East German society and the people do not have any chance to resist. Every step taken in East Germany is observed by the Stasi. If anyone shows any signs of faithlessness to the state, he or she will be punished immediately. The Stasi is the ruthless and effective enforcer of the will of the state (Moeller and Lellis 2012). The Legend of Rita and Barbara tackles the popular negative discourse of GDR history not by denying the brutality of the Stasi but by highlighting not only the oppression of the state apparatus but also the revolutionary political ideal and a place where love is possible in spite of the state oppression (Pinfold 2014). Although, West Germany is presented as the Promised Land in the Lives of the Others, Rita and Barbara, eventually willingly surrender their opportunity to live in West Germany. West German society is not at the centre of the stage in either the Legend of Rita or Barbara, however, both films allude to some facts of West German society. In the Legend of Rita, Rita’s first of three stories take place in West Germany and in Barbara, the interaction between East and West can be seen through Barbara’s West German boyfriend and his business partner. Barbara’s boyfriend, Jörg, is a businessman from West Germany, who frequently travels across the border with his business partner. He and his partner come into East Germany with their Mercedes, nice suits and ties, which distinguish them from the local East Germans, who drive Trabis and have to wait for years after they order it. He comes to the East to visit Barbara twice in the film. During the first visit, when Barbara and her boyfriend are meeting in the wood, the business partner of her boyfriend, Gerhard has a conversation with a local East German. The local man shows curiosity about the Mercedes and that indicates the lack of variety and poor quality of East German cars. Later when Barbara’s boyfriend returns to the car, Gerhard imitates the East German in a sarcastic voice: “is that a Mercedes, how much do they cost, how long did you have to wait, we waited eight years for ours and that wasn’t bad” and ask Barbara’s boyfriend: “was is it at least worth it?” This scene shows that the West German feel they are superior to the East because of the economic development. In spite of its poor performance and quality, the Trabant, produced by VEB Sachsenring Automobilwerke Zwickau in Zwickau, Saxony, is a distinctive symbol of the extinct former GDR. Various models of Trabants in different colours are collected in a Trabi museum in Berlin 25 metres away from Checkpoint Charlie. In Dresden, people today can experience relive the life of a former East German by driving a Trabant themselves. The Trabant is indeed the people’s car in East Germany. The Trabant incorporate more cultural and political nuance in the Legend of Rita in the context of Ostalgie. Rita spends the last of her West Deutschmark on a Trabant as part of her integration process into East German society. The second rendezvous between Barbara and her boyfriend took place in a hotel. Barbara sneaks into the hotel room from the window, where they stay and discuss their future. In the hotel room, they hear exaggerated sex noise from Gerhard’s room. Her boy explains that Gerhard has met a girl, Steffi, and he said he loves her. Barbara points out the nature of their relationship immediately: “Because she can’t follow him.” She meets Steffi when her boyfriend and Gerhard go out to attend a meeting in the restaurant. She says to Barbara: Steffi: “If he marries me, do you think they’ll let me leave?” Barbara: “I don’t think so.” Steffi: “Do you know your stuff about this?” Conversation implies that Steffi is unaware of the nature of her relationship with Gerhard. Gerhard used presents in exchange for sex with Steffi. To Barbara, the romantic connection does not exist between Steffi and Gerhard. The relationship between them is simply a trade between sexual intercourse and presents. Yet, Gerhard is not completely honest in this relationship. He claims that he loves Steffi and that makes Steffi dream about one day Gerhard will marry her and take her out of the GDR. It is unlikely he genuinely falls for an East German girl because he talks about the East with contempt when Jörg comes back from his meeting with Barbara in the wood recently. Steffi is amazed by the variety of jewelry in the catalogue, which is unavailable in East Germany at that time. Thus, Gerhard, a businessman from the West, has the chance to exploit the gullibility of the young East German girl and the lack of variety of goods in East Germany. During Barbara’s conversation with Steffi, she looks reluctant while Steffi shows her the catalogue with ostensible excitement on her face. Capitalist consumerism is not what she wants in her life. Moreover, just before Jörg leaves for the meeting, he proposes “what Petzold regards the key sentence of the whole film”: Jörg: “Once you’ve come over, you’ll be able to sleep late.” Barbara: “Why is that?” Jörg: “I earn enough, you won’t need to work.” The conversation between Jörg and Barbara is important in the narrative of the film is because it makes Barbara reconsider her wish to go to the West. She realizes that going to the West may mark the end of the medical career to which she devotes herself and is her identity. Barbara had an accomplished and fulfilling career in East Germany. Although she is reassigned to a small clinic, she once worked at the famous Charité hospital in Berlin. Consumerism, fear for change in her professional life and the growing affection toward Andre contribute to her decision to stay in East Germany at the end of the film. Petzold uses Chic’s At Last, I’m Free as the ending theme of the film. The connotation of the song is open to different interpretations; it could possibly mean that Stella finally escapes, or a more likely explanation would be Barbara has the freedom to choose where she lives of her own will. Schlöndorff, in The Legend of Rita, also addresses the freedom of choice and at the same time justifies people’s resentment to the government in the East and why Rita is more motivated to be a good East German citizen than her peer at the factory. In the scene Rita and Tatjana having a conversation after work by the window, Tatjana asks Rita: Tatjana: “Don’t you regret coming here?” Rita: “I’ve always been left politically. I didn’t have a lot of options. I used to be a waitress.” Tatjana: “Funny, you come here voluntarily and I want nothing more than to get away.” Rita: “This is how it is, here and there.” Tatjana: “I’d like to see that with my own eyes. Maybe I’d even come back, then I’d be here on my own will.” This conversation indicates that people in East Germany do not have the liberty to have their own political opinions, but it also implies that the western system is not necessarily superior to the socialist model in East Germany. Freedom is not simply moving to the West or the West annexing the East, but the ability to make choices. Schlöndorff dealt with the political issue between East and West with a great amount of political sensitivity. He challenges the image of the former GDR as a failed political experiment but as a socialist utopia. A Strong anti-capitalist message is delivered in the Legend of Rita. Schlöndorff intends to upset the accustomed view of the GDR as a failed political system and question the commonly accepted western system that triumphs over the East. Rita herself is left-wing political. Unlike Andreas Baader in the film the Baader-Meinhof Complex, who appears a violent egocentric extremist, Rita is well aware of the political motivation behind her radical actions in West Germany. At the beginning of the film, Rita’s monologue states that her intention is to abolish injustice as well as the government. Politics were war throughout the world. She has Karl Marx’s bust and books of iconic revolutionary figures, such as Ho Chi Minh and Che Guevara. Moreover, she is more anti-capitalist than pro-violence. This is demonstrated in the scene she has a heated debate with her partners when they are in exile in France. Although she shot the policemen who pursue her in France, she did that involuntarily because she was trapped in the underground parking lot. The political message intended in the Legend of Rita is delivered directly through Rita's speech in front of a group of workers after the wall came down. She believes that East Germany is a place everyone is equal; People will not be fired or kicked out of their apartments, the socialism in East Germany was a great attempt and a revolution, it is supposed to be a world that is not ruled by money and people should have faith in their political system. Her speech incorporates the social and economic issues in the former East Germany post-reunification. Many people, who worked within the socialist system, lost their jobs as the system collapsed. Rita is portrayed as the personification of the political ideal she holds. During nearly decades between the early 1970s and 1989, Rita did not age at all, thus it can be interpreted she is more an epitome of socialist ideals rather than a real human being. Rita is also a more devout socialist than any local East German in the film. She is rewarded “für vorbildliche sozialistische Arbeit” (for exemplary socialist work), and she is disappointed that the East Germans do not understand the political concept of the GDR (Moeller and Lellis 2012). Pessimism toward reunification is expressed in the Legend of Rita, as reunification marks the end of utopia. If Rita represents her political ideals, the death of Rita at the end of the film symbolizes the end of the political ideal. From the German title of the film, die Stille nach dem Schuss (the silence after the shot), this message is implied, yet it is lost in the English translation. After the reunification, the two German states became one, and Rita’s real identity is exposed. She is then wanted on both sides of the disappearing border. With the retort of the German national anthem, Tatjana is brutally pushed against the wall by a group of policemen when she is trying to find Susanne (Rita’s first alias). The authority and brutal law enforcement still exist although the Stasi is disbanded as former East Germany being absorbed by the West. The film ends with Rita being killed when she was trying to ride across the border as the retort of the German anthem plays again. As opposed to the Legend of Rita, Barbara is almost apolitical. The former GDR is set as the background of the love story of Barbara. The absence of political manifestation makes room for the multidimensionality of characters in Barbara and a different experience of the history of GDR. Debbie Pinfold states that Petzold breaks down the perpetrator v. victim binary in which the GDR is remembered by the public. This binary mindset is an account for the success of the Lives of the Others, in which the GDR is cleanly divided into the state as the perpetrator, represented by the Stasi officers and government officials, and the artists and people as the victim. The subtle dynamic relations of power grant the complexity of characters in Barbara. In the first scene of the film, Barbara comes to work by bus. Although she arrives early, she sits in front of the clinic to smoke a cigarette and would not enter the workplace. Andre and the Stasi officer, Schütz, watch her from the window on the second floor. The position of the characters indicates the power relations at this moment. Barbara is a new doctor in the village who has been recently demoted from the most prominent hospital in Berlin and she is in a new place where she knows no one. Barbara is placed in a relatively powerless position in this scene when she is watched unawares by Andre, a doctor who has already integrated into the village and is supposedly collaborating with Stasi, and a Stasi office, who represent state authority and power over people (Pinfold 2014). Barbara’s vulnerability is exhibited in the scenes, which show she is visited by the Stasi officer. She is visited twice in her apartment throughout the film. The process of the visits includes not only questioning and going through her belongings but also cavity search. She is thoroughly searched when she comes home late and after Stella escapes from the Torgau Juvenile Workhouse. According to the time when the Stasi officers come to Barbara’s place, then the time she comes home and her relationship with Stella is watched and reported to the Stasi by the superintendent at her apartment and Andre or other colleagues. Barbara is forced to stand against the wall in her own home while Schütz sits amidst Barbara’s clothes on the floor and other Stasi agents carry on their search and investigation. Barbara’s vulnerability peaks during the second visit of the Stasi agents. When she hears the agent who conducts cavity search knocking on the door, Schütz asks her to open the door without any emotion, she begs Schütz in a shivering voice, yet Schütz remains emotionless and the cavity search carries on subsequently. However, the relation of power reverses in the film when Barbara goes to Schütz’s to look for Andre, while he attends Schütz’s sick wife in bed. Barbara comes in uninvited when Schütz sits vulnerably in the room. His vulnerability is exposed to Barbara, the woman whom he once inflicted terror upon when he is being watched by Barbara emotionlessly from a distance. Hauptmann Gerd Wiesler in the Lives of the Others works with mechanical efficiency. His function as an agent of oppression is enforced through the presentation of the absence of a personal life. Unlike Wiesler, the character of Schütz is enriched with a family life besides his profession as a Stasi agent. Schütz carries both occupations as a man, who is capable of love and feelings, and a functional Stasi agent when he carries on missions at Barbara’s apartment. Furthermore, cultural reference is used in Barbara to recreate a relatively more authentic experience of GDR and enrich the characters in Barbara with complexity. I Andre in Barbara is an admirer of art. He attempts to connect with Barbara by discussing Rembrandt’s Anatomy Lesson of Dr. Nicholaes Tulp. He also enjoys literature and music. When Barbara comes to his apartment, he has photographs and paintings of different styles hanging on his wall, and a piano standing in the living room. Instead, the Lives of the Others presents GDR as a cultural wasteland where the only artworks allowed are those that praise the regime (Fisher 2013). The Legend of Rita has a conclusively pessimistic ending as the protagonist, who is the personification of socialist ideals, is shot dead at the end of the film with two lines of text appearing on the screen: “Alles ist so gewesen. Nichts war genau so.” (This is how everything was, more or less). Unlike the Legend of Rita, Barbara has an open ending and it raises more questions than it answered. The film ends with Barbara returning to the hospital breathing heavily after sending Stella off to Denmark. There is no dialogue between Barbara and Andre in the hospital. Many questions are left to the audience, such as how will the relationship between Andre and Barbara develop after she missed Mario’s operation and is suspected of assisting a fugitive from the Torgau Juvenile Workhouse escape the country. In conclusion, both the Legend of Rita and Barbara challenge the public narratives of the history of the former GDR set up and reinforced by the Lives of the Others with different approaches. The Legend of Rita arouses sympathy for the protagonist and the end of the political ideals that Rita upholds. The film challenges the common image of GDR as a political failure and presents the ideals as brave and revolutionary. Barbara, on the other hand, focuses on the complexity of East German society other than politics. The film reconstructs the GDR in colour and warmth with elaborated complexity of characters and enriching cultural references. It does not only challenge the familiar narrative of the GDR history as simply Stasiland but also avoids the conventional discourse of GDR as an extinct political system and recreates the individuality of the memories of professional and personal lives in former East Germany with the foregrounding of Barbara’s love story. And through Barbara’s narrative, the people who once lived in GDR are more than a collective object to the oppression of Stasi in history, but a group of individuals who have their very own stories.
• 来自网友【SuzieQQ】的评论《芭芭拉》，这是一部有关东德的片子看之前我对这部片子一无所知。开头的场景让我觉得很怪异：医生在给一个孩子检查身体，温柔地跟他交谈。而旁边站着的医生，包括女主人公芭芭拉，面部都很沉重。我觉得很奇怪，这是什么样的医院，才能面对孩子都如此冷漠？很快我就看明白了，这是苏联统治下的东德，人与人之间，看似平常的相处，实际上却很可能是监视与被监视的关系。这个片子的基调就是沉静，忧伤。芭芭拉曾经试图移民西德，于是被下放到小镇里面的一所医院里。影片开始，唯一表现出温柔的那个医生，散发着静水深流一般的温情，他默默的关心着芭芭拉，每次都主动送她回家。他们同病相怜，都是满身才华却流落到小镇来的知识分子。一开始，芭芭拉看上去是个很冷漠孤独的人，她不跟任何人亲近。她的温情一面，是在一个年轻女孩被送到医院时展现的。警察粗暴地对待这个女孩，而芭芭拉却像母亲一样安慰她，搂着她做脊髓穿刺。这个片子非常沉静，那些激烈的部分都被刻意隐去。脊髓穿刺是很痛的，本来我以为女孩会大叫出来，结果导演故意省略了这个镜头，在我期待那声撕心裂肺的叫喊的时候，下一个镜头紧接着就变成女孩已经做完手术，安静的躺在床上睡着了。这个爆发点被刻意的压抑了，就跟每个人物内心的火被残酷的政治环境压抑了一样。女孩被检测出怀孕了，是医生在自己的实验室里做的。他为了保护她，没有把这个消息告诉别人，只告诉了芭芭拉一个人。在他的实验室里，他平静地讲述了自己被流放的原因。他曾经引进过一台新西兰的设备，用来照料早产儿的保温箱。他跟助手两人一起用不熟练的英语研究设备的使用方法。后来，设备开始使用，他的助手过于自信，把摄氏和华氏温度搞反了。美国是用华氏度的，但是东德用的是摄氏度，100华氏度应该是37摄氏度，但是100摄氏度就是沸水的温度了。保温箱压力过大，里面的一个男婴和女婴，虽然被救活了，但是永远失明了。医生因为这次事故，本来应该受到更重的惩罚，但是当局跟他交换条件：他可以不用去劳教营或者监狱，但是当局收买他作为政府耳目，监视小镇里那些有逃跑或反政府行为的人。他无法拒绝。在这里当耳目，还能睁只眼闭只眼，总比去劳教营里受苦好吧。芭芭拉说的最大胆的一句话就是：社会主义的劳教营，就是集中营。冷若冰霜的芭芭拉，真正成为一个快活的女人的时候，就是跟她的男朋友在一起的时候。他们应该在东西德分裂之前就在一起了，她的男朋友住在西德，有时会来东德出差。男友常常跟芭芭拉带点西德的好东西过来，比如香烟什么的。并且，他给芭芭拉制作了一个详细的逃跑计划。可是，接下来又有了矛盾，医院里来了一个重度昏迷的男孩子。芭芭拉看到他的女朋友在他房间里偷偷地哭，于是跑去问她，从而得知男孩是自杀未遂。他醒过来以后，对所有东西反映都很冷漠。芭芭拉觉得他应该做开颅手术。她跟医生商量以后，医生也决定给男孩做手术，可是手术刚好在芭芭拉要逃跑的那一天。而且此时芭芭拉跟医生已经相爱了。可是，生命诚可贵，爱情价更高，若为自由故，二者皆可抛。芭芭拉还是决定逃跑。芭芭拉白天留下来帮助完成了手术，她准备晚上逃走。事情偏不随人愿，之前来住过院的女孩子从劳教营里面逃跑了，带着伤，连夜跑到芭芭拉家里。芭芭拉带着她一起逃走，被房东太太告了密。医生和政府人员先后赶来，医生内心痛苦不堪，因为芭芭拉要是被抓到，一定会受到残酷的对待。天快亮了，芭芭拉和女孩坐在海边。有一个穿着潜水服，拖着一个橡皮船的人游了过来。他竖起一根手指，意思是我只能带一个人走。芭芭拉把机会给了女孩。她回到了医院。此刻，她的男朋友应该已经在荷兰了，但是他肯定等不来芭芭拉了，只能等来那个女孩。电影没有说她是否已经流产，如果经历了这么多磨难，她和孩子都幸存下来了，她的孩子将一生下来就是自由之身。这些成功逃离的人，一定会彼此照顾。最后一个镜头里，芭芭拉又回到了医院，跟医生一起坐在手术后还没醒来的男孩的床前。这可能只是医生的幻想。这个故事发生在1978年，1989年柏林墙才倒塌，11年以后了。如果芭芭拉没有被当局枪决并且撑过了劳教营的折磨，那时，他俩四五十岁，也许后半生能互相陪伴。第一次听说柏林墙，是小时候看《读者》上的文章，说有一天，德国境内突然竖起一面墙，两边的人哭喊着纷纷往这面墙跑，有些人成功跑过去了，有些人没来得及，于是很多家庭就在这一天突然之间分隔两地。上午从东边到西边串个门，下午就再也回不去了。他们隔着铁丝网，哭喊声震天动地。当时我觉得很奇怪，世上还有这种事？一个国家的人，因为一堵墙，就再也不能往来了？这是多么戏剧化的场景啊！几年前在华盛顿的新闻博物馆里面，我看到了几块被运过去的柏林墙，你能轻易分辨那边是朝东德哪边是朝西德的：光板一块的那边是东德，画满涂鸦的那边是西德。在博物馆里，我还读到了很多东德市民企图逃到西德的悲惨故事。其中有一张照片印象最深，一个少年试图穿越铁丝网，但是他被绊住了。好像当时有好几个人偷偷穿越，前面几个成功了，只有他被铁丝钩住了。这时候塔上的士兵已经发现了他，他痛苦地喊救命，而拍摄这张照片的记者，此刻正目睹整个过程，但是他根本无能为力。这个少年很快就被打死了。我还看了很多试图逃跑的奇葩方式，现在印象很模糊了。成功的人，从此获得自由；失败的人，付出了生命的代价。这是对专制的恐惧，对自由的渴望，就像《勇敢的心》的里面，梅尔吉布森临死之前用最后一口气大喊“FREEDOM”！看热闹的民众和侩子手都被震慑住了。现在，也还是有各种形式的柏林墙。离我们不远处有一条江，很多人试图游过那条江。这个国家在我们的城市里也开过一些餐厅，以美丽的姑娘、神秘的氛围和昂贵的菜肴闻名。我在沈阳看到这样一个餐厅，门口站着两位身着民族服饰的漂亮姑娘。我们想远远的拍个照片，可是我们手机刚刚举起来，她们立刻扭头走进了餐厅。这是她们的工作守则严格规定的吧。在TED上面有一个女孩讲述她传奇的逃亡经历，大家可以去搜一下。还有一个片子叫做《窃听风暴》，多年前在大学看过。可惜的是，《窃听风暴》里面那个良心发现保护了“反动”作家的那个间谍，完全是虚构出来的，历史上没有一个西德间谍因为同情被监听的进步人士而牺牲自己保护他们。找时间翻出来再看看，再写点体会吧。对于东德，你了解多少呢？一些台词芭芭拉给女孩读完故事以后，女孩对芭芭拉的短暂倾诉：女孩：Die haben mirgesagt, ich konnte schon allein lesen. Dann warden sie mich bald abholen.Kannst du irgendwas fur mich tun, Frau Doktor?他们跟我说了，说我现在已经能自己看书了。他们很快会过来把我带走的。你能帮我想些办法吗，医生？芭芭拉：Ich versutche’s我试试。女孩：Ich kann nichtnach Torgao zuruck. Ich halte es da nicht aus. Ich kriege ein Kind. Das mussweg.我不能回托儿高去。我受不了那里。我怀孕了。不能留下来。芭芭拉：Willst du’swegmachen lassen?你打算流产吗？女孩：Nein, nicht so.Weg von hier. Weg aus diesem Scheisland.不，不是这个意思。是离开这里。离开这个该死的国家。芭芭拉希望医生帮助劳教营女孩：芭芭拉：Konnen Sie wasfur Stella machen?你能帮下史黛拉吗？医生：Sie langerhierbehalten? Zwei Tage, drei vielleicht, Und dann?再多留她一阵子吗？多留两天，三天，接下来呢？芭芭拉：Wissen Sie, wasTorgau ist? Der Werkhof Torgau? In Euphemismen sied Ihr gut. Der Werkhof istein Vernichtungsanstalt, eine sozialistische…你知道托尔高是哪里吗？知道劳改营吗？讲绕弯子的话你们比较在行。劳改营就是个集中营，社会主义的······芭芭拉跟陌生女孩在宾馆房间的对话。宾馆是芭芭拉的男友和他的同事订的，他们在出差，我猜测他们是从西德来的。不知道当时东西德冷战到什么程度，是否可能有公务人员的往来。很可能在柏林墙竖起以前，他们就在一起了。男友到楼下去开会，隔壁房间里出来一个穿着睡衣的女孩，是他同事的女友。芭芭拉看到她以后，只是把手指放在唇上示意她不要惊叫，然后她们就聊起天来了。陌生女孩：Der hat gesagt,der will mich heiraten. Ich soll mir einen Ring aussuchen. Welchen wurdest dudir auch suchen? Sag mal, wenn der mich heiratet, lassen die mich dann hierraus?他说，他会跟我结婚。我要挑一个戒指。你自己会挑哪一个呢？你说，如果他真的要跟我结婚，他们会放我走吗？芭芭拉：Ich glaube nicht.我觉得不会。芭芭拉在医生的家里。芭芭拉：Sind das allesArztgeschichten?这些都是关于医生的小说吗？医生：Darin ist eine derschonsten Geschichten, Der Kreisarzt. Da geht’s um einen alten, hasslichen Arzt,der zu einem schwindsuchtigen Madchen gerufen wird, aufs Land. Das Madchen hatFieber, 17 oder 18 Jahre alt… Dad Madchen hat noch nie geliebt und muss jetztsterben ohne je gelibt zu haben. Und so nimmt sie den alten hasslichen Arzt zuihrem Geliebten.这是一本挺有意思的小说，《乡村医生》。讲的是一个又老又丑的医生，有一天被叫去治疗一个得了肺结核的女孩。女孩发着高烧，十七八岁的样子，从没谈过恋爱，但是现在却要带着遗憾走了。于是她把这个又老又丑的医生当成了自己的爱人。芭芭拉：Er schlaft mitihr?他们在一起了吗？医生：Nein. Er ist nurder Stellvertreter fur all die Lieben, die sie nie haben wird…Un dann stirbtsie. Und er fahrt zuruck zu seiner Frau und zu seinen Kindern. Ich schenk’sIhnen.没有，医生只是一个替身。后来女孩死了，医生回到了妻子和孩子的身边。这本书送你了。