Friihjahr - Phil.

Priifungsteilnehmer
Priifungstermin
Einzelpriifun
gsn
ummer
Kennzahl:
Friihjahr
Kennwort:
2008
Arbeitsplafz-Nr.:
62618
Erste Staatspriifung fiir ein Lehramt an tiffentlichen Schulen
Priifungsaufgaben
-
-
Fach:
Englisch (vertieft studiert)
Einzelpnifung:
wissenschaftl.Klausur-Literaturwissenschaft
Anzahl der gestellten Themen (Aufgaben): 13
Anzahl der Druckseiten dieser
Vorlage:
19
Therna Nr.
1
In einer jiingeren Geschichte der englischen Literatur findet sich folgende
Behauptung:
This is important: the novel in England by and large reports upon the
experiences of
middle-class people who have to work for a living. Indeed, it can
be argued that the novel
emerged
in the early eighteenth century precisely because a new kind of commercial
so-
ciety was taking shape at this time. The novel serves as a mirror
for this new middle-class
audience, a mirror in which they can see, albeit with some exaggeration,
the dilemmas of
their own lives reflected.
&MartinCoyle, A Brief History of Engtish Literarure, Houndmills: palgrave,2002,
{"Tlt"5
D. IJJ - IJ'I.
Diskutieren Sie diese Behauptung unter Rrickgriff auf mindestens
drei Romane von mindestens zwei
Autoren des 18. Jahrhunderts!
.}
Friihjahr 2008
Einzelpnifungsnummer
6}6lt
Seite 2
Thema Nr.2
Die folgende Textpassage bildet den Anfang des letzten Kapitels von R. L. Stevensons
lgg6 erschienenem Roman The Strange Case of Dr. Jelqlt and Mr. Hyde.2u diesem Zeitpunkt
des bis dahin in der
dritten Person erziihlten Romans wurde die Leiche rron Ed**d Hyde durcir dessen
Angestellten poole
und den Anwalt Utterson aufgefunden, gemeinsam mit zwei 'Dokumenten', die in
den letzten beiden
Kapiteln des Romans abgedruckt sind.
HENRY JEKYLL'S FULL STATEMENT OF THE CASE
IWAS born in the year 18-- to a large fortune, endowed besides with excellent parts, inclined by nature
to industry, fond of the respect of the wise and good among my fellow-men, and thus, as might have
been supposed, with every guarantee of an honourable and distinguished future, And indeed the worst
of my faults was a certain impatient gaiety of disposition, such as has made the happiness of many, but
such as I found it hard to reconcile with my imperious desire to carry my head high, and wear a more
than commonly grave countenance before the public, Hence it came about that I concealed my
pleasures; and that when I reached years of reflection, and began to look round me and take stock of
my progress and position in the world, I stood already committed to a profound duplicity of life. Many a
man would have even blazoned such irregularities as I was guilty of; but from the high views that I had
set before me, I regarded and hid them with an almost morbid sense of shame. lt was thus rather the
exacting nature of my aspirations than any particular degradation in my faults, that made me what I was
and, with even a deeper trench than in the majority of men, severed in me those provinces of good and
ill which divide and compound man's dual nature. ln this case, I was driven to reflect deeply and
inveterately on that hard law of life, which lies at the root of religion and is one of the most plentiful
springs of distress. Though so profound a double-dealer, I was in no sense a hypocrite; both sides of
me were in dead earnest; I was no more myself when I laid aside restraint and plunged in shame, than
when I laboured, in the eye of day, at the furtherance of knowledge or the relief of sorrow and suffering,
And it chanced that the direction of my scientific studies, which led wholly toward the mystic and thl
transcendental, re-acted and shed a strong light on this consciousness of the perennial war among my
members. With every day, and from both sides of my intelligence, the moral and the intellectual, I thui
drew steadily nearer to that truth, by whose partial discovery I have been doomed to such a dreadful
shipwreck: that man is not truly one, but truly two. I say two, because the state of my own knowledge
does not pass beyond that point, Others will follow, others will outstrip me on the iame lines; and I
hazard the guess that man will be ultimately known for a mere polity of multifarious, incongruous, and
independent denizens. l, for my part, from the nature of my life, advanced infallibly in one direction and
in one direction only, lt was on the moral side, and in my own person, that I leained to recognise the
thorough and primitive duality of man; I saw that, of the two natures that contended in the tjU of
my
consciousness, even if I could rightly be said to be either, itwas only because I was radically both; and
from an early date, even before the course of my scientific discoveries had begun to suggest the most
naked possibility of such a miracle, I had learned to dwell with pleasure, as a beioved day-6r.rr, on the
thought of the separation of these elements, lf each, I told myself, could but be houied in separate
identities, life would be relieved of all that was unbearable; the unjust delivered from the aspiiations
might go his way, and remorse of his more upright twin; and the just could walk steadfasly and
securely
on his upward path, doing the good things in which he found his pleasure, and no longer exposed to
disgrace and penitence by the hands of this extraneous evil. lt was the curse of maniind that these
incongruous fagots were thus bound together that in the agonised womb of consciousness, these polar
twins should be continuously struggling. How, then, were they dissociated?
[...j
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The evil side of my nature, to which I had now transferred the stamping efficacy, was less robust and
less developed than the good which I had just deposed, Again, in the course of my life, which had been,
after all, nine-tenths a life of effort, virtue, and control, it had been much less exercised and much less
exhausted, And hence, as I think, it came about that Edward Hyde was so much smaller, slighter, and
younger than Henry Jekyll. Even as good shone upon the countenance of the one, evil was written
broadly and plainly on the face of the other, Evil besides (which I must still believe to be the lethal side
of man) had left on that body an imprint of deformity and decay, And yet when I looked upon that ugly
idol in the glass, I was conscious of no repugnance, rather of a leap of welcome, This, too,
rysJtf.
It seemed natural and human, ln my eyes it bore a livelier image of the'spirit, it seemed more express
and single,-than the imperfect and divided countenance I had been hitherto accustomed to call mine.
And in so far I was doubtless right. I have observed that when I wore the semblance of Edward Hyde,
none could come near to me at first without a visible misgiving of the flesh. This, as I take it, was
because all human beings, as we meet them, are commingled out of good and evil: and Edward Hyde,
alone in the ranks of mankind, was pure evil. [,,.]
*6
(from Robert Louis Stevenson, The Strange Case of Dr. Jekytl and Mr, Hyde; in: Robert
Louis
Stevenson, The Strange Case of Dr, J-ekyll and Mr, Hyde and Other Stories, ed.-Jenny Davidson
York: Barnes & Noble Classics, 2003, 67-69 and 71)
1.
ErlZiutern Sie die Erziihlsituation der Textpassage, insbesondere im Blick auf ihre Stellung im
Roman und ihre Bedeutung ftir die Romanhandlung!
2.
Diskutieren Sie Dr. Jekylls Selbstcharakterisierung!
a
J'
Trt
4.
[New
t I
weiche
wrssenschaftiichen Diskurse der (sprit)viiaorianischenZeitgreift die Textpassage auf
und wie werden diese funktionalisiert?
Wie wird das Problem der Identitiit entwickelt? Diskutieren Sie die im Text aufgezeigteldentitiitsproblematik in ihrem literatur- und geistesgeschichtlichen Kontext, indem Sie mindestens
zwei weitere (sprit)viktorianische Werke einbeziehen !
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Frtitrjahr 2003
62618
Seite 4
Thema Nr.3
For months, Maber had been servantless in the big house, keeping
the home together in penury for her ineffectual brothers. sn-e rraa
kept housJ
for ten years. [...]
she went regularly to church, she attended to her father. And she
lived in the memory of her mother, who had died when she was fourteen,
and whom she had loved. She had loved her father, too, in a diffirent
way,
depending upon him, and feeling secure in him, until at the age of fifly-four,
he married again. And then she had set hard against him. NJw he had died
and left them all hopelessly in debt.
she had suffered badly during the period of poverty. Nothing,
however, could shake the curious, sullen, animal pride that dominated each
member of the family. Now, for Mabel, the end had come. still she would
not cast about her. she would follow her own way just the same. she would
always hold the keys of her own situation. Mindless and persistent, she
endured from day to day. why should she think? why should she answer
anybody? It was enough that this was the end, and there was no way out.
She need not pass any more darkly arong the main street of the small town,
avoiding every eye. She need not demean herself any more, going into the
shops and buying the cheapest food. This was at an end. she t[ought of
nobody, not even of herself. Mindless and persistent, she seemed in a sort of
ecstasy to be coming nearer to her fulfilment, her own glorification,
approaching her dead mother, who was glorified. [...]
"Dr. Ferguson?" she said.
"What?o'he answered.
He was divesting himself of his coat, intending to find some dry
clothing upstairs. He could not bear the smell of the dead, clayey water, and
he was mortally afraid for his own health.
"What did I do?" she asked.
"walked into the pond," he replied. He had begun to shudder like
one sick, and could hardly attend to her. Her eyes remained full on him, he
seemed to be going dark in his rnind, looking back at lrer helplessly. The
shuddering became quieter in him, his life came back to him, daik and
unknowing, but strong again. [...]
"Who undressed me?" she asked, her eyes resting full
and
inevitable on his face.
"I did," he replied, "to bring you round."
For some moments she sat and gazed at him awfully, her lips parted.
"Do you love me, then?" she asked.
He only stood and stared at her, fascinated. His soulseemed to melt.
She shuffled forward on her knees, and put her arms round him,
round his legs, as he stood there, pressing her breasts against his knees and
thighs, clutching him with strange, convulsive certainty, pressing his thighs
against her, drawing him to her face, her throat, as she looked up at him with
flaring, humble eyes of transfiguration, triumphant in first possession. [...]
He iookeci ciown at the tangieci wet hair, the wild, bare, animal
shoulders, [...] She looked at him again, with the same supplication of
powerful love, and that same transcendent, frightening light of triumph. In
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Einzelpnifu ngsnrunme
r
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Seite 5
view of the delicate flame which seemed to come from her face like a light,
he was powerless. And yet he had never intended to love her. He-had nier
intended. And something stubborn in him could not give way.
"You love me," she repeated, in a murmur of deep, rhapsodic
assurance. "You love me."
Her hands were drawing him, drawing him down to her. He was
afraid, even a little horrified. For he had, really, no intention of loving her,
Yet her hands were drawing him towards her. He put out his hand quickly to
steady himself, and grasped her bare shoulder. A flame seemed to burn the
hand that grasped her soft shoulder. He had no intention of loving her: his
whole will was against his yielding. It was horrible. And yet wonderful was
the touch of her shoulders, beautiful the shining of her face. was she
perhaps mad? He had a horror of yielding to her. yet something in him
ached also.
D'H.Lawrence, "The Horse-Dealer's Daughte r", The Norton
Anthorogy of Engrish
Literature. Hg' M.H.Abrams u.a., 6. Aufl. New york: Norton,
r993. II 2r0r-0s
I
Analysieren Sie im Detail die Gestaltung der Erzahlperspektive im vorliegenden Textausschnitt!
Greifen Sie dabei auf wenigstens eine der von Frar:zK. Stanzel, von Wayne C. Booth oder von
Gdrard Geneffe vorgestellten erziihltheoretischen Typologien zuriick und veranschaulichen Sie
diese am Text!
2
Welche Technik der Gedankenwiedergabe wird in diesem Textausschnitt verwendet? Nennen Sie
kurz ihre wesentlichen Merkmale (auch im Unterschied zu anderen Formen der Gedankendarstellung) und veranschaulichen Sie diese beispielhaft am Text!
a
J
Behandeln Sie, ausgehend von dieser Textpassage, die Darstellung und Thematisierung von
Leben und Tod, von VitaiitZit und Sexuaiitat im Erziihlwerk von D. H. Lawrence!
4.
Behandeln Sie, ausgehend von dieser Textpassage, die Stellung von D. H. Lawrence in der
Geschichte des englischen Romans in Hinsicht auf seine Vorliiufer, Zeitgenossen und auf die
weitere Entwicklung der Gattun g im 20. Jahrhundert !
Thema Nr. 4
Interpretieren Sie die beiliegende Szene aus Shakespeares Tragridie King Lear unter besonderer Berticksichtigung der Funktion der genannten Naturerscheinungen! Au8ern Sie sich anschlieBend zu der
These, dass Edmund als typischer Vertreter der Shakespeareschen,,vice figure" zu interpretieren sei!
Reflektieren Sie abschlieBend die Bedeutung des Verhiiltnisses von,,Freiheit" und,,Determinismus"
fiir Shakespeares Tragodie, in dem Sie auf mindestens zwei weitere Dramen Shakespeares Bezug
nehmen!
Fortsetzung n iichste Seite!
Friihiak 2008
Act I,
SCENE
Einzelprtifungsnummer 62618
Seite 6
IL The Earl of Gloucester's casfle
GIou. These late eclipses
in the sun and moon portend
no good to .us: though the wisdom of Nature
can reason it thus and thus, yet Nature finds
itself scourg'd by the sequent' effects. Love r ro
cools, friendship falls ofl brothers divide: in cities,
mutinies ; in countries, discord; in palaces,
treasor; and the bond crack'd itwixt son
and father. This villain of,.mine comes under
tlKingprediction ; there's son against father : the I l5
falls from bias of nature; there's father
against child. We have seen the best of our
-
time: machinations, hollowness, treachery, and
all ruinous disorders follow us .disquietly to our
poftend: hinweisen, hindeuten
scourged: eig. geiBeln, hier
beeinflussen
mutiny: Aufruhr, Meuterei
bias of nature.' goes against
_natural instincts
ho I
lowness
: Falschheit
graves. Find out this villain, Edmund;' it shall lzo
lose thee nothing: do it carefully. And the
noble and true-hearted Kertt banish,d! his offence,
honesty! 'Tis strange.
lExit.
Ednt. This is, the eicellent foppery of the world, that,
when we are sick in fortune, often the surfeits oi tz5
our own behaviour, we make Sotlty of our disasters the sun, the moon, and stars ; as if we were
villains on necessity, fools by heavenly compulsion,
knaves, thieves, and treachers by spheriCal predominance, drunkards, liars, and adulterers by an
enforc'd cbedieilce of planetary influence; and r.3o
all that .we are evil in, by a divine thrusting on,
An admirable evasion of whoremaster man, to lay
his goatish disposition to the charge of a star!
{Iy fathgr compounded with rny mother under r35
the dragon's tail; and my nativity was under
Ursa major; so that it follows I am rough and
lecherous. Fut! I should have been that I am
had the maidenliest star in the firmament twinkled
on my bastardizing. Edgarr+o
fo p pery:
Dum mheit, Narrheit
surfeit: Ergebnis, Resultat
Ursa major: Sternbild des
GroBen B6ren
Enter Eoeiln.
and pat he comes, like the catastrophe of the old
my crre is villanous meLncholy, with
"oT"$yj..
a
sigh like Tom o' Bedlam. O ! these .rllpr.,
do portend these divisions. Fa, sol, la, mi.
Tom o' Bedlam: generischer
Name fur einen lrren
King Lear. The Arden Edition of the Works of William Shakespeare. Edited by Kenneth Muir. Based
on the edition of. w. J. craig. Methuen and co. Ltd.: London 1952, s. 30 - 32
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Einzelpri.ifu ngsnummer 62618
Seite 7
Thema Nr. 5
ONE FOR THE ROAD
A room. Morntng
Nico.las is silting
machine
at
Nicolas Bring him
his desk.
yn.
He
leans
forward and speaks inro a
(He sits back)
The door opens. Victor walks in, slowly. His clothes are torn. He
is bruised. The door closes behind him
Hello! Good-morning. How are you? Let's not beat about the
bush. Anythingbut that. D'accord?you,rea civilized man. So
am
I. Sit down.
Victor slowly sits. Nicolas stands, walks over to him
_ What do you think this is? It's my finger. And this is my little
llggt.This is my big finger and this is my little finger. I wave my
big finger ig front of your eyes. Like this. And now I do the same
with my little finger. I can also use both . .. at the same time.
Like this. I can do absolutely anything I like. Do you think I'm
mad?
My mother did.
He laughs
Do you think waving fingers in front of people's eyes is silly? I
can se€ your point. You're a man of the highest intelligence. But
would you take the same view if it was my boot-or my penis?
Why am I so obsessed with eyes? Am I obsessed wiih- eyes?
Possibly.
_Not my eyes. Other people's eyes. The eyes of people
who are brought to me here. They're so vulnerable. Thi soul
shines through them. Are you a religious man? Whieh side do
you think God is on? I'm going to have a drink.
He goes to sideboard, pours whisky
You're probably wondering where your wife is. She's in another
room.
He drinks
GoodJooking woman.
He drinks
God, that was good.
He pours another
Don't worry, I can hold my booze.
He drinks
You may have noticed I'm the chatty type. You probably think
I'm part of a predictable, formal, long-established pattern; i,e. I
chat away, friendly, insouciant, I open the batting, as it were, in
a light-hearted, even carefree manner, while another waits in the
wings, silent, introspective, coiled like a puma. No, no. It's not
quite like that. I run the place. God speaks through me. ['m
referring to the Old Testament God, by the way, although I'm a
long way from being Jewish. Everyone respects me here. Including you' I take it? I think that is the correct stance'
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Einzelpriifungsnunmer 62 618
Seite 8
Pause
Stand up.
Victor stands
Sit down.
Victor sits
Thank you so much.
Pause
Tell me something . ..
Silence
What a good-looking woman your wife is. you're a very lucky
man. Tell me . .. one for the road, I think . . .
He p.ours whisky
You do respect me, I take it?
He stands infront of victor and looks down at him. victor looks up
I would be right in assuming that?
Silence
Victor (quietly) I don't know you.
Nicolas But you respect me.
Victor I don't know you.
Nicolas Are you saying you don't respect me?
Harold Pinter, One for the Roa.d, London, 1984
I
Interpretieren Sie die abgedruckte Anfangssequenz des Dramas!
Gehen Sie darauf ein,
mit welchen szenischen und sprachlichen Mitteln die Situation fiir Leser/ Zuschauer verstiindlich gemacht und inwieweit sie im unklaren belassen wird!
wie Nicolas sich selbst charakterisiert!
welche Taktiken der Gespriichsftihrung er anwendet, insbesondere welche Funktion die
Verwendung von H<ifl ichkeitsfl oskeln, Fragen und scheinbai irrelevanten Bemerkungen
haben kcinnte!
t
o
r
2
Pinters Stticke der 60er und friihen 70er Jahre sind mit der Formel "comedy of menace" charakterisiert und in der Niihe des Theaters des Absurden angesiedelt worden. Inwieweit lassen sich
diese Bestifirmungen auf die vorliegende passage tibertragen?
a
Vergleichen Sie den Text mit anderen Formen von Gewaltdarstellung im zeitgencissischen
englischen Drama!
J
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Friihjah 2008
62618
Seite 9
Thema Nr.6
4
8
12
16
20
24
Just broke from school, pert, impudent, and raw,
Expert in Latin, more expert in taw,
His Honour posts o'er ltaly and France,
Measures St Petefs dome and learns to dance.
Thence, having quick through various countries flown,
Gleaned all their follies, and exposed his own,
He back returns, a thing so strange all o'er,
As neverages past produced before:
A monster of such complicated worth,
As no one single clime could e'er bring forth;
Half atheist, papist, gamester, bubble, rook,
Half fiddle, coachman, dancer, groom, and cook.
Next, because business is now all the vogue,
And who'd be quite polite must be a rogue,
ln parliament he purchases a seat,
To make the accomplished gentleman complete.
There safe in self-sufficient impudence,
Without experience, honesty, or sense,
Unknowing in her interest, trade, or laws,
He vainly undertakes his country's cause:
Forth from his lips, prepared at allto rail,
Torrents of nonsense burst, like bottled ale,
Though shallow, muddy; brisk, though mighty dull;
Fierce without strength; o'erflowing, though not full.
Aus:
Soame Jenyns, ,,The Modern Fine Gentleman: Written in the Year 1746", Eighteenth-Century Engtish
Verse, ed. Dennis Davison (London: Penguin, 1988): S. 53 - 54.
chic'; 2 taw ,lhe line from which players shoot at marbles'; 9 complicated
understand'; 11 bubble,animated but unreliable person'; rook ,swindler'; 12 fiddte,manipulator'
,impudent, forward, trim and
tlt to
I
Erliiutern Sie am Beispiel dieses Gedichtauszugs die Machart klassizistis cher (Augustatl Dichtung und zeigen Sie die bedeutungsstiftende Funktion einiger der von Ihnen identifizierten Merkmale auf'!
2.
Skizzieren Sie den historischen und moralischen Standpunkt des Sprechers dieses Gedichts!
3.
Erkliiren Sie mindestens eine der sozialen Prakfiken, gegen die sich das Gedicht wendet!
-10-
Fr{ihjahr 2008
Einzel
62618
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l0
Thema Nr. 7
Text:
lle
lew Penguin
200r,
Book of Romantic Poetry,eds. Jonathan & Jessica wordsworth,
Harmondsworth
'rvrs^' rrq'rv'sDwrrrlrr'
s. 42r, 424, 427.
1
)
a
J
Analysieren Sie zun?ichst jedes dieser drei Sonette umfassend
in formaler Hinsicht und
kommentieren sie etwaige Besonderheiten und A.ufftilligkeiten!
A'rbeiten Sie darauf aufuauend heraus, auf welch verschiedene
Weisen hier das Motiv des
fl ieBenden Gewiissers gestaltet und funktionalisiert
wird!
Positionieren Sie diese drei Sonette literaturgeschichtlich und
akzentuieren Sie, worin diachronisch betrachtet - ihre wesentlichen unterschiede liegen!
THOMAS WARTON
SAMUEL TAYLOR COLERIDGE
To the Riuer Lodnn 6v1
To the Riaer Otter(rzg6)
Ah! what a wearf mce my feet have run
I trod thy banks with alders crowned,
And thought nly rvay rvas.alt through fairy-ground
Beneath thy azure sky and golden 2n,
first my Muse to lisp her notes begun!
l!r:r.
While pensive Memory traces back the round
Which fills the varied interval berween,
Since first
lo
Much pleasure - more of sorrow - marks the scede.
Slveet native stream, those skies and suns so pure
No more return to cheer my evening road!
Yet still one joy remains: that not obscure,
Nor useless, all my vacant days have flowed,
From youth's gay dawn to manhood's prime mature
Nor with the Muse's Iaurel unbestowed.
5
Dear native brook! wild streamlet of the west!
various-hred years have past,
_Y9* T,1ny
What blissful and what anguished hou.r, since last
I skimmed rhe smooth thin sione along thy breast,
Numbering its lighr leaps! yet so deep"impressed
Sinlc the sweet scenes of childhood, ,ir"t
-i.r. "ye,
I never shut amid the sunny blaze,
But straight with atl their tints thy waters rise _
lo
thy margin's willowy maze,
llsling-qlTk,
^ Tlt
And
bedded sand that veined
Gleamed
-
ftT:q! *y
*ith
d".,
"".iou,
bright transparence
to'tt," g"""t
Visions of childhood! oft have ye beguiled
Lone manhood's cares, yet wakini fonj.rt
Ah, that I were once more
,ighs
a
".r.1"r,
childi
ROBERT SOUTHEY
To a Brook Near the Village of Corston
(rtgt)
fu thus I bend
me o'er thy babbling stream
And watclr dry currcnt, M.rrr,lry;, lrancl portrays
The faint-fornred scenes of the iellart.di"yr,
!r.kr.ft:
5
far foresr by the moon's
p"t. b.n*
Dimly descried, yer lovely. I have worn
thy banirs the iive-iong hour away
sportive childhood wintoned th.ough the day,
Joyed at the opening splendour of the morn, '
Or, as the nvilight darkened, heaved the sish
_Upon
Ht.n
to
of distant home, as down ,y Jh..k
fond thought slow stealing onjr.rould speak
_.(A,..fi.
The silent eloquence of rhe full eye.
Dim are the long-past days, yet scill they please
As thy soft sou'ds, half-hearcl, borr,. on ih.
i.,.onrorrt breeze.
]hi+ing
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Friihjah 2003
62618
Seite
Thema Nr. 8
Diskutieren Sie die Entwicklung einer spezifisch 'amerikanischen'Erziihlliteratur
zwischen der Revolution und dem Btirgerkrieg im Zusammenhang der europiiisch-amerikariischen
literarischen und
kulturellen Beziehungen in dieser Zeit!
Thema Nr.9
Beginn des ersten Kapitels / stephen crane, Maggie,
a Girl from the streets(lg93)
'
A very little boy stood upon a heap of gravel for the honor
of Rum Alley. He was throwing
stonqs at howling urchins from Devil's Row
who were circling madly abouith"
athim.Evvsr9r^vrlvq
h"up and pelting
His infantile countenance was livid with fury. His small
body was writhing in the delivery
of great, crimson oaths.
"Run, Jimmie, run! Dey'll get yehs," screamed a retreating
Rum Alley child.
responded Jimmie with a valiant roar, "dese micks
,'Naw,"
can,t make me run.,,
Howls of renewed wrath went up from Devil's Row
throats. Tattered gamins on the right
made a furious assault on the gravel hiap. on their
small, conwlsed faces tf,cre shone the grins
of true assassins. As they charged, theythrew stones
una ,urrrJ in ;tii;;;:^'
The little champion of
Alley
stumbled
precipitately
down the other side. His coat had
!1m
been torn to shreds in a scuffle, and his hat was go*.
rt. had bruises on twenty parts of his
body, and blood was dripping from a cut in his hlad.
His wan features wore a look of a tiny,
insane
demon.
On the ground, children from Devil's Row closed in
on their antagonist. He crooked his left
arm defensively about his head and fought with cursing
fut The litrle uoy, ,*io ]iJ6i;;
dodging, hurling stones and swearing in barbaric treblesl
From a window of an apartrnent house that upreared
its form from amid squat, ignorant
stables, there leaned a curious woman. Some laborirs,
unloading a scow at a dock at the river,
paused for a moment and regarded the fight.
The engineer of a passive tugboat hung lazily to a
railing and watched. Over on the Island, u *o.rn of yillow
convicts came from the shadow of a
grey ominous building and crawred slowly along
the riverrs bank.
A stone had smashed into Jimmie's mouth. Blood was bubbling over his
chin and down
upon his ragged shirt' Tears made furrows on his dirt-stained
cheeks. His thin legs had begun to
tremble and turn weak, causing his small body to reel. His
roaring curses ofthe"first part of the
fight had changed to a blasphemous chatter.
ln the yells of the whirling mob of Devil's Row children there were notes ofjoy like
songs
of triumphant savagery. The little boys seemed to leer gloatingly at the blood upon the other
child's face.
Ausgabe: The Portable Stephen Crane, ed. Joseph Katz. Harmondsworth: penguin,
lg7g. S. 3 - 4.
Fortsetzung niichste Seite!
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r
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1'
Analysieren Sie die direkten und indirekten Verfaluen der Figurenzeictn*g
in dieser passage!
2'
Analysieren Sie die Verwendung von literarischen Bildern in der passage
als typisches Mittel
naturalistischen Erziihlens !
3'
Erliiutern Sie das Realitiitsverstiindnis, das in diosem Text des amerikanischen
Naturalismus zum
Ausdruck kommt! Welche zeitgencissischen biologischen und/oder soziologischen
Theorien
kommen dabei zum Tragen?
Thema Nr. 10
Analysieren Sie diese Textpassage hinsichtlich der darin zutage tretenden familiEiren
Konfliktel Beachten Sie dabei insbesondere das Mutter-Tochter Verhiiltnis-und die Position,
die die Erziihlerin
gegeniiber ihrer Tante einnimmt! Wie charakterisiert der Text dabei
die Erzrihierin selbst?
E-rl?iutern Sie, ausgehend von Ihrem close
reading,wiediese Eingangspassage den Roman erriffnet!
Was sagt sie iiber die Natur von Transkulturationiprozessen und welctre punktion
weist sie dem Erz?ihlen im Allgemeinen bzw. dem vorliegenden Roman im Speziellen
in diesem Zusammenh angztt?
Ordnen Sie den Roman anschlieBend in den literatur- und kulturhistorischen Gesamtzusammenhang
der multiethnischen Literaturen der USA in der zweiten Hiilfte des 20. Jahrhunderts
ein!
"You must not tell anyone," my mother said, "what I am about to tell you. In
China
your father had a sister who killed herself. She jumped into the
family well. We say that your
father has all brothers because it is as ifshe had nevlr been born.
"In 1924 just a few days after our village celebrated seventeen huny-up weddings to
make sure that every young man who went 'out on the road' would
responsibiy .on1* home your father and his brothers and your grandfather and his brothers
and your aunt's new
husband sailed for America, the Gold Mountain.
[.,.]
"I remember looking at your aunt one day when she and I were d.ressing; I had not
noticed before that she had such a protruding tnrion of a stomach. But
I did not think, ,She,s
pregnant,' until she began to look like other pregnant wornen,
her shirt pulling and the white
tops of-her black pants showing. She could no1 huu. been pregnant, you
see, because her
husband had been gone for years, No one said anything. we did
noi discuss it. In early
summer she was ready to have the child, long after the time when
it could have been possible.
"The village had also been counting. On the night the baby was to
be born th.;ii;;;r,
.
raided our house. [...] As the villagers closed in, wJcould see that
some of them, probiuty
men and women we knew well, wore white masks.
[...]
"When thev left. they took sugar ancl- orungir to bless themselves.
i. j Afterwar,i we
swept up the rice and sgwed it back up into sacks. But the smells from
the ,iitt.a preserves
lasted' Your aunt gave birth in the pigsty that night. The next morning
*hen t went for the
water' I fou'd her aud the baby plugging up the family well'
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Seite
"Don't let your father know that I told you. He denies her. Now that you have started
to menstruate, what happened to her could happen to you. Don't humiliate us. you
wouldn't
like to be forgotten as if you had never been born. The villagers are watchful.,,
Whenever she had to warn us about life, my mother told stories that ran like
this one, a
story to grow up on. She tested our strength to establish realities. Those in
the emigrant
generations who could not reassert brute survival died young and far
from home. Those of us
in the first American generations have had to figure oui ho* the invisible world the
emigrants
built around our childhoods fits in solid America.
The emigrants confused the gods by diverting their curses, misleading them with
crooked streets and false names. They must try to confuse their oifspring as
well, who, I
suppose, threaten them in similar ways always trying to get things rt.uightl
always irying to
name the unspeakable. The Chinese I know hide their names; *.jou.nJrc take
new names
when their lives change and guard their real names with silence.
Chinese-Americans, when you try to understand what things in you are Chinese, how
do you separate what is peculiar to childhood, to poverty, insanities, one family, your
mother
who marked your growing with stories, from what is Chinese? What is Chinese tradition
and
what is the movies?
If I want to learn what clothes my aunt wore, whether flashy or ordinary, I would have
to begin, "Remember Father's drowned-in-the-well sister?" I cannot ask that. My mother
has
told me once and for all the useful parts. She will add nothing unless powered by Necessity,
a
riverbank that guides her life. [...]
Adultery is extravagance. Could people who hatch their own chicks and eat the
embryos and the heads for delicacies and boil the feet in vinegar for party food,
leaving only
the gravel, eating even the gizzard lining - could such people engenaei a prodigal
aunt? To be
a woman, to have a daughter in starvation time was a waste enough. My aunt could
not have
been the lone romantic who gave up everything for sex. Women in the old China
did not
choose. Some man had commanded her to lie with him and be his secret evil. I wonder
wliether he masked himself when he joined the raid on her family.
Perhaps she had encountered him in the fields
[...].Or perhaps he first noticed her in the
marketplace' He was not a stranger because the village housed no strangers. She had to
have
dealings with him other than sex.
His
demand
must
have
[...]
surprised, then terrified her. She
obeyed him; she always did as she was told.
["
'] My aunt must have lived in the same house as
my parents and eaten at an outcast table.
My mother spoke about the raid as if she had seen it, *h"r, she and my aunt,
a daughter-inlaw to a different household, should not have been iiving together
at all. Daughters-in-law
lived with their husbands'parents, not their own.
t...] Heihus6and's parents could have sold
her, mortgaged her, stoned her. But they had r.ni h.r back
to her own rnother and father, a
mysterious act hinting at disgraces not told me. Perhaps they
had thrown her out to deflect the
avengers.
I ' ] tMv grandparents] expected her alone to keep the traditional ways, which her
brothers, now among the barbarians, could fumble without
detection. The heavy, deep-rooted
women were to maintain the past against the flood, safe for
returning. But the rare urge west
had fixed upon our fam,rly, and so my aunt crossed boundaries
not del]neated in space.
The work of preservation demands that the feelings playing about
in one,s guts
not be turned into action. Just watch their nassinq like chen,; hlnsen*o rrrrr
^o-r-^-my forerunner, caught in a srow life,
went toward what persisted. Fear at the enormities of the
forbidden kept her Jesires delicate,
wire and bone. She looked at a man because she liked the way
the hair was tucked behind his
ears' or she liked the question-mark line of a long torso
curving at the shoulder and straight at
lerdrJams;ilil;;;.;il;fi;##;ilr':i;J;:
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62618
Seite 14
the hip. For warm eyes or a soft voice or a slow walk
- that's all - a few hairs, a line, a
brightness, a sound, a pace, she gave up family, she offered
us up for a charm that vanished
with tiredness, [...].
It could very well have been, however, that my aunt did not take subtle enjoyment
of
her friend, but, a wild woman, kept rollicking.orpuny. Imagining
her free with sex doesn,t
fit, though' I don't know any woman like thal, o, ..n .ith.r. Unleis I
see her life branching
into mine, she gives me no ancestral help.
-- Maxine Hong Kingston, The Woman Warrior; Memoirs
of a Girthood Among Ghosts
(NY: Vintage, 1975) 3-8.
Thema Nr. 11
Quellennachweis: Robert Frost, The Poetry of Robert Frost: The Collected Poems, Complete and
unabridges. Ed. Edward connery Lathem. Ny. Henry Holt, lg7g, s. rzl - r2z
Worterkliirune:
s/zr - Bewegung; craze
- verrickt machen; enamel - Schmelz, oberfliiche, (Email);
avalanche - lawinenartig herabsttirzen; bracken - Farnkraut, Farngestnippipoise - Gleichgewicht
Birches
f see birches bend to left and right
Across the lines of straighter darker trees,
I like to think some boyrs been swinging Lhem.
But swinging doesn't bend them d.own to stay.
As ice storms do. Of ten you must have seen t,hem
Loaded wiEh ice a sunny winter morning
AfLer a rain. They click upon themselves
As the breeze rises, and turn many-coloured
As the stir cragks and cfazes t.heir enamel.
soon t.he sunts warmt.h makes them shed crystat she11s
Shattering and aval_anching on the snow-crust
Such heaps of broken glass t.o sweep away
You'd think Lhe inner dome of heaven had falLen.
They are dragged to the withered. bracken by the load,
And they seem not to break; t.hough once they are bowed
So low for long, they never right E,hemselves:
You may see their trunks arching in the wood.s
Years aft,erwards, trailing their reaves on t,he ground
Like girrs on hand.s and knees that throw Lheir hair
Before them over their heads to dry in the sun.
But I was going to say when Truth broke in
With all her maEter-of-fact about the ice storm,
I shoul-d prefer to have some boy bend Lhem
As he went ouL and in to fetch the cows-When
Fortsetzung niichste Seite!
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Seite 15
Some boy too far from Lown t,o learn
baseball,
Whose only play was what, he found himself,
Summer or winLer, and could play alone.
One by one he subdued his fat.her,s trees
By riding Lhem down over and over
UnLil he Look Lhe stiffne'ss out of again
them,
And
not one but hung limp, not one was
left
For him to conquer. He learned all there
To Learn about not. launching ouL too soon was
And so not carrying the tree away
Clear to Lhe ground. He always kept his poise
To the top branches, climbing carefully
With the same pains you use io fill .
Up to the brim, and even above the brim.
"rrp
Then he flung ouLward, feet first, with a swj-sh,
Kicking his way down through the air Lo t,he ground
So was f once myself a swj_nger of birches.
And so I dream of going back to be.
It's when frm weary of considerations,
And tife is too much like a pathless wood
Where your face burns and tic:<tes with the
Broken across it,.and one eye is weeping- - cobwebs
From a twig's having lashed across :_i ofen.
I'd Like to get away from earth awhile
And then come back to it and begin over.
May no fate wiIlfully misunderstand me
And half grant what I wish and snatch me away
Not, to return. Earth's the right place for love:
I don'E know where it's 1ikely to go bet,t,er.
I'd like to go by climbing a Lirch tree,
And climb black branches up a snow_white trunk
Toward heaven, til1 the tree could bear
But dipped its top and set me d.own again.no more,
That would be good both going and coming back.
One could do worse than be a swinger of birches.
Beschreiben Sie Form, Sprechhaltung und Struktur des Gedichts! Wie und nach welchen
Kriterien
Wie ist der Argumentationszusammenhang gestaltet?
lZisst es sich untergliedern?
Analysieren Sie die Bildlichkeit des Gedichts und deren Funktionen im Hinblick auf
1' Naturdarstellung, 2. existentielle Bedeutsamkeit, 3. metaphysische Aspekte!
ordnen Sie das 1 916 geschriebene Gedicht in das Spannungsfeld modernistischer Dichtung und den
Zusammenhang amerikanischer Naturauffassungen ein! Datei soll ein Bezug hergestellt
wirden sowohl zu lyrischen Werken des Modernismus, dii Frosts Gedicht kontrastier*a ritoi"r"n, wie zu
.'
Ll^^^:^^L^-'ri---r^,r
Kiassiscnen i exteii des
amerikanischen itiature writing!
-16-
Frtihiah 2008
62618
Seite 16
Thema Nr. 12
Text: Eugene ONeil, "Bound East for Cardiff (1915).
I
Interpretieren Sie die semiotische Ausgestaltung der Brihne als plurimedialen
Verweiszusammenhang in der vorliegenden einleitenden B iihnenanweisung !
2.
Analysieren Sie die Selbst- und Fremdvorstellung der Figuren im vorliegenden
Textausschnitt!
Benicksichtigen Sie dabei vor allem auch die sprachliche Gestaltung!
a
J
Ercirtern Sie wesentliche Zige des modernen amerikanischen Einakters ausgehend
vom vorliegenden Textbeispiel !
CHARACTERS
YaNr<
Dmscor-r.
Cocrcv
Devrs
Scorrv
Or,soN
Paul
Surrrv
ivert
Trrc Car"rarN
Tnr SpcoNo Mern
Fortsetzun g nf, chste Seite!
PLAYS I9T4
r88
Bound. Enst
scnNn-The
drat
for Cardiff
of the British trarnp steamer
Glencairn on
night
ruidway
ort. the yrlage beiern Ni
Z.&W.y
Card.iff. An twegular shTped. ,o*por+ilrrt, tbe sirla of
!r,!.an(
phich alvnost vneet at the
end^to
o triangte
seatiteru's forecastre
far
fto*-
strep,rng
abowt.six feet long, rynged. threi d+ep with a1p*,
oyitori,
\mh:
sery'ratO
the apper frorn the lou,er,- are.bu.ili aginst the
ft.q
sides.
on^the n'ght above tbe bunlu three
Infront
or
four
porth"oles can be
of the bunhs, rowgh wooden beiches.-oper tbe bunlu
o! fu: Itt, a laru,p in a bra{kei.
ln the Ieft foreground, a daom,ay.
On tlte f.ooy nearit, a pail with a tin iipper.-Oilshans ,re haig_
rnAfnon a hooh near tbe dnorway.
The
{ar s1/e of the forecastle is ,o nnrrow that it contains only
seen.
one seyies
of bunlu.
In under the bunhs
vaboots, etc., jammed
rylirnpse can
be had. of sea chests, suit cases,
in ind,isrirninately.
At regula.r intervals of a rninute or si the btast of the steamefs
whistle can be heard abope all the othet, sounds.
rnln
on the benches talhinly. They are dressed in
,.Fite
7re lttr.ryg.
dirty
swits of dungaree, fanner shiii, and' ail. are in their
Tatclted
,!ret"g ftf Fow' of
*to irt puilzng on pipa and tbe aijr is
-the
with
rancid
tobarco
srnohe. Sln;ng on itoi top bunk in the
leyyIeftforeground, aNorwery1n, pau!, lr ronu phyr"g *tnefolh song
on a battered. accord.ion. He xops
from ti*, to t;r* to lisien n tte
conpersation.
In
rnan
E
rt
u,
(D
N
F
oq
(?
u)
(D.
(n
(D
(D
the lower bunh
f
in
Utlg np.*ynt!
the refr.r n. d.arh-haired., hard.featured.
One of his anns is'stretchiA n*rpty
the bunh. Hisfaca is viry pale, and. d,rops of claiiy
perspiration glisten on his
for:ehead.
It is neanng the end of the dog u,atclt_about ten minwtes to
eigbt in the nening.
a1!e.ep,
over tbe sld.e of
(a..weazened runt of a *ur.. ,, is telting a strry.
I he others are listening wittrt anaused., incredwloas
"-,!o:*fauqtrnarn ft
,:!,h.r:."t the end. of each sentence with loud. d.erisiie guffa.1;s.)
to me,-she was! It's Gawd,s truth! A Ef""or-*
Greased
,ll over with'cocoanut oil, she was. Gawd
llgg"..
blimey, I couldn't stand 'er. Bloody old cow,
I says; ancl with
A{akin' love
187
FI1
I
fetchcd 'er a biff on dre ear wor knockecl 'er sillvul'- (He is intern4ted by a roar of laughterfrom the othcrs.i'
Dlvrs-(a rniddle-aged. naan witlt blach hair anrl rnu.stacbe)
-_
You're a liar, Cocky.
Scorrr-(a dark young fellow) Ho-ho! Ye wcrr neverr in
New Guinea in yourr lifb, I'm thinldn'.
Orcow-(a Swed.e with a drooptng blonde rnustache-with
Pgnderows sarcnsm) Yust tink of it! You say she wass a camibal,
Cockyl
Dnrscor,r,- (a brawny Irishrnam with the battet ed. featwres of
a prizef.ghter) Horv cud ye doubt ut, Ollie) A rluane .u thi
naygurs she musta been surely. Who else wrrcl think herself
aqual to fallif in love wid a beauthifirl, divil-may-care rake av
a man the loike av Cocky? (a burst of laughnr froyn the crowd\
Cocrcr-(ind.ignantly) Gawd strike me dead if it ainit
qu1 every bleedin' word of it. 'Appened ren year ago come
t
s)
B
N)
@
Cfuistmas.
Scorrr-'Twas a Christmas dinner she had her eyes on.
Davrs-He'd a been a tough old bird.
Dnrscor,r,-'Tis lucky for both av ye ye escaped; for the
dT cannibal isles wad 'a died av the bClly ache the
guane-""
day afther Chrisrmas, divil a doubt av ut. ('fhe laughter at
thi,s
is long and. hud..)
Cocrer-(sullenly) Blarsted fat 'eads! (The sick ruan in
lower bunh
in the rea.r grla,ns and, rnoves
fue
a\
N
restlessly. There is a
AII the men twrn and stare at hfun.)Dnrscor,r,-Ssshh! (in a hwshed. whisper) We,d best not be
talkin' so loud and him- tryin' to have a bit av a sleep. (IIe
a
hwshed. silence.
co
tiptoes softly to the sid.e of the bwnh) Yanlc! You,d be
wantin' a
not reply. Drisnll bends
over and, loolu at hino.) It's asleep he is, sure enough. His
breath is chokin' in his throat loike wather gurglin, in i poipe.
ffe cmnes bach qaietly and sits dnwn. Atl antlilrit, avoid.ing ich
othe* eys.)
Cocrt-(after a pawse) Pore devil! It's over the side for
'irn, Gawd'elp'im.
?*l.ol1 -.ftop your croalcin'! FIe's nor dead yet and,
praise God, he'll have many a long day yet befor-e him.
Scorrr-(s/zahing his head. cloubfully) He,s bod, mon, he,s
verry bod.
drink av wather, maybel (Tnnh
d.oes
a
o
d
(D
{
tsOUND EAST FOR CARDIFF
r89
Dar.rs-Lrrcky
Man1, 2 mzur's light r,,,oulc{a sonc
out after a fall likc H:,ltt*
Or,sor.r-You sirw hirn flll|
Davrs-fught nexr to hirn. He ancl rne w?ts goin, clorvn
in
number rwo hold to do,so1ne. chippin,- H" p.,r.l-Lri,
i";
;;;;
crrcless-like ancl misscs thc laddcr'JJ pi,ur-,pu
straigrrt crorvir
to dre bottonr. I was scarcd a" t""ti oi"r for a rninute,
ancl
dren,I heard hrn.groan and I scuttlcd down aftcr
hil.;;
was ltlrrr trad urside for the blood was c.lrippi',
fron, tl_,. ,iJ.
of his rnoudr. He was groanin' hard, bui fr" ,r.r,.r
f., n *or.J
out of him.
C.":y,.A1' you blokcs remember u,heu we ,aulecl ,im in
.'erei
(Jlr, 'ell, 'e says, oh, ,ell_like
that, and nothinl< else.
ULSoN-l)rcl the captain lerow where he iss hurtecll
Cocrcy-That silly ol' josser! Wot the ,ell vvould ,c
klow
abaht anythink)
Scorrv-lsnrnfutty) He ficldles in his mor_rth rvi, a bit of
,
190
PIAYS rgr+
on the beach or worse, but for him. And
now- (His voice
a.s he
f.ghts to control his ernotion.) Divil take me if I'm
not startin' to blubber loike an auld woman,
and he not dead
at all, but goin'to live man ya long
year yet, maybe
trernbles
Davrs
-The sleep'll do
now.
him
good
Ffe seems
S)
F
N)
O
O
better
oo
glass.
Dnrsco*- ("rrgriu) The ciivil,s ow' life ur is to be out
on ule.lonely sea wid potfrin'berune you antl
a grave in the
p..:* blr. a spindle-shankccl, gr"y_r..,irirk.re.{ au'id fbol thc
rolr(e av rrrm. ''I was enougrr to make a
saint srrrvear to sce
hirn wid his golci watch in-his hancl, rryir-r, to
loolc as wise as
owl. on a tree) ancl all the toimc he not knor.r,in'
u,hcrhcr
.an
'twas cholery or the barber's itch was the
rvicl ya'k.
'ratther
, Sc.orrr- (sat"r*tnicalll,) He give hirn a close of ,"ttr, n"
dootI
Dnrscor,r-Divil a thing he gave him at all, but lookccl
o\
N
o\
6
in
dre book he had r.vict hirnjand"shook trrr t't"o.t,
o,ra r"ott
out widour sayin' a word, the second mate afrher him ".i
no
wtser dran hrmsclf, God's curse on the nvo
av thint!
pause) Yank u,as a good shipmare, por.c
\"rto ,?
beggar.
Lend me fbur bob in Noo yark,-,e did.
"^9::YDnrscor,r,- Q,varwtfl A goocl shipmate he lvts ancl
is,
none betrher. Yc said no
than the truth, Cocky. fir=
-5..
years and more ut is since firsr
I shippecl wid lri,r-,,
*,.1u.
",rj f,glr,,
giic-l luck aLr.1 bacl.
God help us, bur 'f;""i o,rly u,hen rved a bii
onnk taken, and lve always sltook hancls the
"u
nixt mcrrnin,.
Whativer was his was min",
ti.,. toi,r,. I,cl a been
sru5k
loggth_er iver since tlrrough
lyg'v.e h1d,
I
\o
I
""a -rrryI
a
o
+
(D
oo
Frtihiahr 2008
Einzelpnifu ngsnumme r 6ZGIB
Seite 19
Thema Nr. 13
Eine Form der Artikulation von postkolonialen Identitiiten liegt
in der Revision ,englischer Klassiker,.
Zeigen Sie anhand von mindestens zwei unterschiedlichen Beispielen
auf wie diese Re-Vision verliiuft, welche primiiren Zielpunlne der Kritik anvisiert werden und inwieweit
traditionelle Text- und
Gatfungskonventionen dabei modifiziertwerden! Gehen Sie in
diesem Zusammenhang auch auf die
j eweil i gen kultunaumlichen bzrar. kulturhi
storischen Kontexte ein !