Much more than Germans, Americans suffer from a condition they call information overload. If Americans receive all of the information about a project right from the beginning, they’ll try to reduce the information by ignoring anything that doesn’t seem immediately important. Ultimately they will typically only remember the pieces that seem most pertinent to them.
When information is important, Americans tend to give it away in small pieces, stressing each item individually. This way, no matter how much the other person suffers from information overload he/she is certain to remember the material.
Information overload: an excess of incoming information, as might confront a pedestrian on a crowded city street, that forces one to be selective in the information received and retained; an overwhelming feeling upon the receipt or collection of an indigestible or incomprehensible amount of information, the feeling of being faced with an amount of data that one has no hope of completely processing.
This phrase was popularized by Alvin Toffler in 1970.
Nibelungentreue is a German compound noun, literally Nibelung loyalty, expressing the concept of absolute, unquestioning, excessive and potentially disastrous loyalty to a cause or person.
It is derived from the Medieval chivalric ideal of loyalty, Middle High German triuwe, as exemplified in the second part of the Nibelungenlied, where the Burgundian kings Gunther, Gernot and Giselher refuse to hand over to Kriemhild their loyal vassal Hagen of Tronje, who is guilty of murdering Kriemhild’s husband, Siegfried. The brothers place the loyalty to their friend above their obligations to their sister or to justice, leading to disaster and the complete destruction of the Nibelungs.
The modern term Nibelungentreue was coined by chancellor Bernhard von Bülow in his speech before the Reichstag on 29 March 1909. Addressing the Bosnian Crisis, von Bülow invoked the absolute loyalty between the German Empire and Austira-Hungary to their Alliance of 1879against the threat by the Entente Cordiale:
Meine Herren, ich habe irgendwo ein höhnisches Wort gelesen über eine Vasallenschaft gegenüber Österreich-Ungarn. Das Wort ist einfältig. […] aber die Nibelungentreue wollen wir aus unserem Verhältnis zu Österreich‐Ungarn nicht ausschalten. Die wollen wir vor aller Öffentlichkeit Österreich‐Ungarn gegenüber wahren.
“Gentlemen — I have somewhere read a scornful word regarding a [German] vassalage to Austria-Hungary. This is fatuous. […] but we will not eliminate the Nibelung loyalty from our relation to Austria-Hungary. This we want to preserve towards Austria-Hungary in full public view.”
The term is adopted by emperor Wilhelm II of Germany as the German Empire declared war alongside Austria-Hungary on 1 August 1914. After the defeat of the Central Powers in 1918, the notion of th Dolchstoß (“Stab in the back”) also invoked the Nibelungen legend, invoking the cowardly murder of Siegfried.
Nibelungentreue was later, in East Germany during denazification and by the 1980s also in West Germany, applied (derogatively) to Nazi ideology, especially in connection with the Schutzstaffel motto, Meine Ehre heißt Treue. Used in this sense by Marxist commentators, the term describes a fanatical Germanic military loyalty associated with fascism and militarism.
Franz Führmann in 1955 wrote a poem called Der Nibelunge Not (“the plight/distress of the Nibelungs”, the Middle High German title of the Nibelungenlied) in which he portrays the Nibelungs as a Germanic Töterdynastie (“dynasty of killers”) who brought a curse on their descendants. The term is also occasionally found in English-language literature about Nazi Germany; thus, Steinberg (1990) describes Goebbels’ suicide as “a paroxysm of Nibelungentreue“.
A German with extensive experience living and working in the U.S. made this comment about entering into and maintaining agreements:
“I more observed that you make easier commitments in some cultures, and somewhere it takes more time. Then, in some cultures you can adjust when the boundary conditions dramatically change. And in others you stick to your word whatever happens. I guess that probably is the concept of Nibelungentreue, which has both positive and negative implications.”
German film scholarship, as noted by critics like Siegfried Kracauer and Walter Benjamin, often emphasizes how cinema can reveal the “hidden mental processes” and the importance of context in shaping individual and collective outcomes. Films that neglect or underestimate context frequently use this as a narrative device to explore the consequences—sometimes tragic—of such oversights.
Yasemin (1988). Director: Hark Bohm. Plot: A romance between a Turkish-German woman and a German man in Hamburg, set against the backdrop of cultural expectations and integration. The film explores how cultural context—tradition, family expectations, and integration—shapes both personal and professional relationships. Business and workplace interactions are influenced by cultural misunderstandings and the need for sensitivity to different backgrounds.
Lindenstraße. Overview: One of Germany’s longest-running soap operas, set on a fictional street in Munich. While not strictly a business show, Lindenstraße frequently explores workplace issues, social integration, and professional relationships. The show’s storylines demonstrate how social context—such as cultural background, community ties, and current events—directly impacts professional and personal interactions.
German dramas, especially those set in finance or corporate worlds, often emphasize the risks of acting on incomplete information. They reflect a cultural lesson: in German business culture, overlooking context is not just a minor error—it can have serious professional and personal ramifications.
Series like Bad Banks and select episodes of Tatort and Bad Cop: Kriminell gut illustrate that underestimating context in business can result in failed ventures, loss of reputation, or even legal trouble. These dramas reinforce the German business value of thorough preparation and contextual awareness before making commitments or decisions.
Der Tatortreiniger (The Crime Scene Cleaner). Overview: This dark comedy follows Heiko “Schotty” Schotte, a crime scene cleaner who encounters a wide variety of people and situations. Each episode centers on Schotty’s interactions with clients and bystanders, exploring how personal backgrounds, social norms, and unspoken expectations affect communication and problem-solving in professional encounters. The show cleverly uses these encounters to highlight the importance of understanding context in any professional service role.
Erst prüfen, dann zusagen. Literal translation: First check, then commit. Meaning: Emphasizes the importance of thoroughly reviewing all information before making a commitment.
Postwar German Collective Guilt and the Stuttgart Declaration of Guilt (1945): After World War II, German leaders and intellectuals grappled with the nation’s responsibility for Nazi crimes. The Stuttgart Declaration of Guilt by Protestant church leaders was only issued after deep reflection and extensive discussion about the nation’s past and the context of its actions. This public admission of guilt—and the broader culture of Vergangenheitsbewältigung (coming to terms with the past)—demonstrates the German tendency to seek full understanding and context before making a binding moral or political commitment.