Explored Brecht's cross-cultural nature and emphasized the importance of his national language and culture in the construction of modern Europe. Since the 1990s, the academic community has re examined Brecht's poetry, ballads, and songs, especially in the context of economic globalization, where his creative diversity and cross-cultural nature have received attention. The article analyzes the cross-cultural nature of Brecht's early ballads and how he demonstrated temporal and spatial dynamics in his cross-border writing from Germany to England, forming the initial characteristics of his "cross-border" mode. This feature provides the possibility for Brecht to seek innovative changes in foreign cultures such as China in the future. The article aims to reveal the historical connotation and contemporary significance of his "cross-border writing".

From Europe to England: Suspension and Origins

In depth exploration of the early cross-border writing of German playwright Brecht reveals the complex cultural and historical background behind his works. Brecht's creative starting point was not a typical rebellious or Marxist style, but a war report published in a popular publication in Augsburg, presenting a prose style of prose hymns driven by a sense of nobility. This style is related to the secularized discourse of Romanticism in Germany at that time, reflecting the backlash of the German middle class against Enlightenment.

Time Space Transformation and Imperial Logic

In depth exploration of Brecht's complex attitude towards Kipling's works, as well as how Brecht criticized imperialist logic through temporal and spatial transformations in his early works. Brecht appreciated Kipling's concrete representation of ordinary life and the breadth of cross-border writing, but did not follow his inherent cognitive rules and value coordinates. By analyzing Brecht's letters and works, such as "The Friendly World," "Paradise of the Lost," "Bar," and "In the Jungle of the City," the chapter reveals Brecht's personalized and personal handling of the paradox of modernity, as well as his profound understanding of the contradictions between numb coldness and caring, sensitive, and productive people.

Cross border writing: exotic homeland

In Berlin in 1923, Chukmel introduced the works of Bloch and Lukacs to Brecht, while Brecht recommended Kipling's works. Brecht's cross-border writing does not pursue Kipling's global power or civilization peak, but rather innovatively draws on his imagery of the ends of the earth, releasing a cross-border writing that is oriented towards ordinary life. This kind of writing is highly condensed in 'To My Mother', demonstrating a transcendence of suffering and an embrace of humanity. Abrams, Berlin, and La Capra's analysis of the European spiritual context failed to encompass Brecht's cross disciplinary perspective, which includes and transcends the "Christian realm" and points towards the creative reconstruction of concrete life. Brecht began reading Marx in 1926 and believed that Marx was an explorer who transcended the "Christian realm". His cross-border writing took place during a stormy period in the 1930s, showcasing the temporal and spatial transformations and changes in survival modes in storms through "About Enduring Storms" in "Mr. Kuna's Story". In Brecht's writing, the behavior of the protagonist Kuna (meaning unknown soldier) in the storm and his perspective on the storm suggest the temporal and spatial turbulence of the complexity of human existence over the past century, as well as the migration of cognitive and value coordinates. The 2014 biography "Brecht: A Life of Literature" mentions Brecht's celebration of life in the face of death and the Chinese lantern as a symbol of exotic time and space. In Brecht's poetic exploration and the transformation of time and space, Chinese imagery plays an important role, pointing towards a cross-cultural and cross-cultural path of temporal and spatial change. More than half a century later, Brecht's Chinese dimension needs to be explored and renamed in the context of the world's century long changes. Brecht's cross-border writing, from hymns to ballads, and then to inquiries and unknown territories, provides us with cognitive methods, value pulsations, and writing possibilities related to human attributes in the coordinate migration of 20th century spatiotemporal reconstruction.