Herbst - Phil.-Hist. Fakultät

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Einzelpriifungsn ummer
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Herbst
Kennwort:
2013
Arbeitsplatz-Nr.:
Erste Staatspriifung
Fach:
62618
fiir ein Lehramt
Priifungsaufgaben
Englisch (vertieft studiert)
Einzelpriifung: Wissenschaftl.Klausur-Literaturw.
Anzahl der gestellten Themen (Aufgaben): 13
Anzahl der Druckseiten dieser
an iiffentlichen Schulen
Vorlage:
19
Bitte wenden!
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Herbst 2013
Seite 2
Einzelpriifungsnunmer 62618
Thema Nr,
I
Family Matters
Analysieren und interpretieren Sie die erziihlerische Konstruktion sowie kulturelle Relevanz von Familienrollen und Familienmustem in der englischen Erziihlliteratur des 18. Jahrhunderts an drei ausgewiihlten Beispieltexten !
Thema Nr. 2
Interpretieren Sie den Textausschnitt aus Oscar Wildes Dorian Gray wrter besonderer Beriicksichtigung stilistischer Merkmale !
Nehmen Sie anschlieBend kritisch Stellung zu der These, dass es sich bei Dorian Gray
sches Werk des englischen Asthetizismus handele!
un ein typi-
Nehmen Sie abschliefJend eine literaturhistorische Einordnung des Textes in dasfin de sidcle ein; beschreiben Sie zu diesem Zweck die wichtigsten Merkmale dieser Epoche"!
Fortsetzung niichste Seite!
Indeedi,
there were many, especially among the very young men, who saw, or:
fancied that they saw, in Dorian Gray the true realization of a type of
which they had often dreamed in Eton or oxford days,.a rype thar,
luas to combine something of the real culture of the schola, *ith
.u
the grace and distinction and perfect manner of a citizen of the
world. To them he seemed to be of the company of thoSe whom
Dante describes as having sought to'make the*s.lu"s p"rr.", Ct ,n"
worship of beauty-' Like Gautier, he was one for whom.the ni.iul.
world existed.'
And, certainly, to him Life itself was the first, the greatest, of the
arts' and for it all the other arts seemed to be but a preparation.
Fashion, by which what is really fantastic becomes for a moment
univer,sal, and Dandyism, which, in its own way, is an aftempt to
assert the absolute modernity ofbeauty, had, ofcourse, their faicination for him. His mode of dressing-and the particular styles that
from time to time he affected, had their marked influence on the
young exquisites of the Mayfair balls .and pall Mall club windows,
who copied him in everything that he did, and tried to reproduce the
accidental charm of his graceful, though to him only half-serious,
fopperies.
For, while he was but too ready to accept the position. that was
almost immediately offered to him on his coming of"g., and found,
indeed, a subtle pleasure in the thought that he might really become
to the London of his own day whar to imperial Neronian Rome the
author of the'satyricon' onte had been,'yet.in his inmost heart he
desired to be something more than a mere arbiter eregantiarum, to be
consulted on the wearing of a iewel, or the knotting of a necktie, or
the conduct of a cane. He sought to elaborate sorne new scheme of
Iife that would have its rsasoned philosophy and its ordered prin-
ciples, and find
realization.
in the spiritualizing of the senses its hilhest
Oscar Wilde, The Picture of Dorian Gray,Jbseph Bristow, ed., OxfordAilerv
I
5
I
The .'-.ship of the senses has often, and with much
_
been
decried, -.en feeling a natural instinct of terror about iusticg
p*rion,
sensations that seem stronger than themselves,
and that thev "nJ
are
consrcious of sharing with ihe less highly orr#;;;;;
;;fi_
But it appeared to Dorian C;Iv llr*?e true narure
.r;;
senses had never been understood, ani that
they had ,em"ined sav_
ence.
age and anirnal merely besause the world
had sought to starve them
into submission or to kill them by pain, instead
them elernents of, a new spirituality, of which"i;;*;;;r;"kt";
a nn. Inrtirr"t foi
beauty was to be the dominant
As he ,;;k;il;;;
Flr
(D
+
c/)
N)
(}J
"n"i""t.i*ii"
uponman moving through History he was haunted by a feeling of
loss. so much had been surrendered! and to such littre purpise!
There had been mad wilful reiections, monsrrous forms of self_
torture and self-denial, whose origin was fear, and whose result was a
degrad'ation infinitely more terrible than that fanciecl degradation
from which, in their ignorance, they had sought to escape, Nature, in
her wonderfutr irony driving out the anchorire to feed with the wild
animals of the desert and giving to the hermit the beasts of the fielcl
as
his gompanions.
Yqs: there was to bg as Lord Henry had prophesied, a new I{edon-
ism that was to recreate life, and to save it from that harsh,
uncomely puritanism that is having, in our own day, its curious
reviyal. It was to have its service of the iniellect, certainly; yet, it was
never to accept any theory or system that would involve the sacrifice
of any mode of passionate experience. Its aim, indeed, was to be
experience itself, and not the fruits ofexperience, sweet or bitter as
they might be. Of the asceticism that deadens the senses, as of the
vulgar profligacy that dulls them, it was to know nothing. But it was
to teach man to concentrate himself upon the moments of a life that
is itself but a moment.
There are few of us who have not sometimes wakened before
dawn, either after one of those dreamless nights that make us almost
enamoured of death, or one of those nights of horror and misshapen
joy, when through the chambers of the brain sweep phanroms more
terrible than reality itself, and instinct with that vivid life that lurks
in all grotesques, and that lends to Gothic art its enduring vitaliry
this art being, one might fancy, especially the art of those whose
minds have been troubled with the malady of reverie.
York Oxford University Press,
109-111.
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Herbst 2013
Einzelpriifu ngsnumme r 62618
Seite 4
Thema Nr. 3
Julian Bames, Flaubert's Parrot, London: Jonathan Cape, 1984.
1: Flaubert's Parrot
Six North Africans were playing boules beneath Flaubert's statue. Clean cracks sounded over the
grumble ofjammed traffic. With a final, ironic caress from the fingertips, a brown hand dispatched a
silver globe. It landed, hopped heavily, and curved in a slow scatter of hard dust. The thrower remained a stylish, temporary statue: knees not quite unbent, and the right hand ecstatically spread. I no'
ticed a firled white shirt, a bare forearm and a blob on the back of the wrist. Not a watch, as I first
thought, or a tattoo, but a coloured transfer: the face of a political sage much admired in the desert.
Let me start with the statue: the one above, the permanent, unstylish one, the one crying cupreous
tears, the floppy-tied, square-waistcoated, baggy-trousered, straggle-moustached, wdry,aloof bequeathed image of the man. Flaubert doesn't return the gaze. He stares south from the place des Carmes towards the Cathedral, out over the city he despised, and which in turn has largely ignored him.
The head is defensively high: only the pigeons can sqe the
full extent of the writer's baldness.
This statue isn't the original one. The Germans took the first Flaubert away in t941, along with the
railings and door-knoekers. Perhaps he was processed into cap-badges. For a decade or so, the pedestal
was empty. Then a Mayor of Rouen who was keen on statues rediscovered the original plaster castmade by a Russian called Leopold Bernstamm-and the city council approved the making of a rtew
image. Rouen bought itself a proper metal statue in 93 per cent copper andT per cent tin: the founders,
Rudier of Chatillon-sous-Bagneux, assert that such an alloy is guarantee against corrosion. Two other
towns, Trouville and Barentin, contributed to the project and received stone statues. These have worn
less well. At Trouville Flaubert's upper thigh has had to be patched, and bits of his moustache have
fallen off. Structural wires poke out like twigs from a concrete stub on his upper lip.
Perhaps the foundry's assurances can be believed; perhaps this second-impression statue will last. But
see no particular grounds for confidence. Nothing much else to do with Flaubert has ever lasted. He
died little more than a hundred years ago, and all that remains of him is paper. Paper, ideas, phrases,
metaphors, structured prose which turns into sound. This, as it happens, is precisely what he would
have wanted; it's only his admirers who sentimentally complain. The writer's house at Croisset was
knocked down shqrtly after his death and replaced by a factory for extracting alcohol from damaged
wheat. It wouldn't take much to get rid of his effigy either: if one statue-loving Mayor can put it up,
another-perhaps a bookish party-liner who has half-read Sartre on Flaubert-mightzealously take it
I
down.
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I begin with the statue, because that's where I began the whole project. Why does the writing make us
chase the writer? Why can't we leave well alone? Why aren't the books enough? Flaubert wanted them
to be: few writers believed more in the objectivity of the written text and the insignificance of the
writer's personality; yet still we disobediently pursue. The image, the face, the signature; the 93 per
cent copper statue and the Nadar photograph; the scrap of clothing and the lock of hair. What makes us
randy for relics? Don't we believe the words enough?
Erliiuterunqen:
"Sarhe on Flaubert": Jean Paul Sarhe hatl97ll72 unter dem Titel L'Idiot de lafamille ein bekanntes
Buch tiber Flaubert verriffentlicht.
"Nadar photograph": Der Fotograf Nadar hat mehrere beriihmte Portaitaufirahmen von Flaubert gemacht.
Der Roman erzalitvon der Suche eines im Ruhestand befindlichen englischen Arztes nach materiellen
Lebenszeugnissen des bertihmten franz<isischen Romanciers Gustave Flaubert (1821 - 1880), insbesondere nach dem ausgestopften Papagei, der auf Flauberts Schreibtisch gestanden haben soll. Die Suche ergibt, dass es nicht einen, sondern mindestens zwei, wenn nicht sogar fiinfzig Exemplare'gibt,
von denen (vielleicht) einer tatsiichlich Flauberts Papagei gewesen sein ktinnte.
I
Interpretieren Sie diese Textpassage,.mit der der Roman beginnt! Beriicksichtigen Sie dabei,
welche Stilmittel der Autor verwendet und welche Funktion die faktischen Informationen haben, die er gibt!
)
Welche Relevanz haben die im letrten Ab,satz gestellten Fragen fiir die Literaturwissenschaft?
Inwiefern haben sie eine besondere Bedeutung fiir die Literatur der Postmodeme, ztr der Flaubert's Parrot tiblicherweise gerechnet wird?
a
J
Welche Rolle spielt die Geschichte - und speziell die Nicht-Eindeutigkeit historischer Fakten
in anderen britischen Erztihlwerken der Postmoderne?
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Einzelprtifu nssnumme r 62618
Herbst 2013
Seite 6
Thema Nr. 4
In Shakespeares Dramen sind AuBenseiter oft Hauptfiguren, die als einflussreiche oder gar miichtige
Mitglieder der Gesellschaft entweder die Menschlichkeit der Ordnung bedrohen oder selbst zum Opfer
von Vorurteilen und B<isartigkeiten der Mehrheit werden. Die Unterschiede zwischen Selbst- und
Fremdwahmetunung sind dabei entscheidend ftir die Bewertung des Verlaufs der Handlung und der
zugrunde liegenden Verantwortlichkeiten.
Belegen Sie dies anhand von nicht weniger als drei Shakespearedramen und diskutieren Sie dabei Genreunterschiede und gegebenenfalls auch Veriinderungen der Interpretation dieser AuBenseiterfiguren in
der Auffi.ihrungsgeschichte !
Thema Nr. 5
Brian Friels StUck Translations spielt im Jahr 1833 in Ballybeg, einer
irisghsprachigen Gemeinde im Country Donegal. Hugh unterrichtet interessierte
Dorfbewohner in einer hedge school in Latein; Jimmy, Doalty, Bridget, Sarah und
Mdire sind seine Schuler. Sein Sohn Owen ist nach sechs Jahren aus Dublin
zufgckgekehrt und arbeitet nun als Ubersetzer fUr die englisehen Soldaten, die mit
def Eritellung einer nbuen Landkarte von lrland betraut wurden. ln der folgenden
Te*tpassage aus dem ersten Akt des StUcks stellen Captain Lancey und
Lieutenant George Yolland ihr Vorhaben vor.
Lnrucry. I'll say what I have to say, if I may, and as briefly as possible, Do they speak any
;English, Roland?
OwLr'r. Don't worry. I'll translate.
Lnpcev. I see. [H-e c/ears hrs throat. He speaks as if he were addressing children - a shade
too toudty and enunciafihg excessiue/y,j You may have seen me - seen me - working in
:this
'
section - section? - working, We-aie here - here - in this place - you understand?
-
to make a map
-
a map
-
a map and
-
Jrumv. Nonne Latine loquitur?
[Httcn holds up a restraining hand.]
HueH. James.
Llr,tcev [fo Jrvuv]. I do not speak Gaelic, sir. [He looks at Oweru.]
Orryrru. Carry on.
LnNcEy. A map is a representation on paper- a picture-you understand picture?-a paper
,r
picture - showing, representing this country - yes? - showing your country in miniature
,, a scaled drawing on paper of - of - of
quickly.l
lsuddenty Donlw sniggers. Ihen Bntooer.Then SnnaH. Oweru /eaps in
Oweru. lt might be better if you assume they understand you
-
-
-
LnNcrY, Yes?
Oweru. And l'lltranslate as you go along.
Lancrv. I see. Yes. Very well. Perhaps you're right, Well. What we are doing is this.
F
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Seite 7
[He looks af OwEt't. Owrru nods reassuiingly,l
His Majesty's government has ordered the first ever comprehensive survey of this entire
country
-
a
general triangulation which will embrace detailgd hydrographic and
topographic information and which will be executed to a scale of six inches to the English
mile.
HuoH [pounng a drinkl. Etcellent
[Lnrucev /ooks af Oweru.]
-
excellent.
Oweru. A new map is being made of the whole country.
fo proceed.]
[Lnrucev /ooks fo Owrru: ls thatal/? Owrru sm/es reassuringly and indicates
Lnmcev. This enormous task has been embarked on so that the military authorities will be
equipped with upt-to-date and accurate information on every comer of this part of the
Empire.
Oweru. The job is being done by soldiers because they are skilled in this work.
LnHcev. And also so that the entire basis of land valuation can be reassessed for purposes
of more equitable taxation.
Oweru. This new map will take the place of the estate agent's map so that from now on you
will know exactly what is yours in law,
Larucey. ln conclusion I wish to quote two brief extracts from the white paper which is our
goveming charter: [Reads] 'All former surveys of lreland originated in forfeiture and
violent transfer of property; the present survey has for its object the relief which can be
afforded to the proprietors and occupiers of land from unequal taxation.'
OwEru. The captain hopes that the public'will cooperate with the sappers and that the new
map will mean that taxes are reduced.
HuoH. A worthy enterprise - opus honestruml,And Extract B?
LnHcev. 'lreland is privileged, No such survey is being undertaken in England, So this survey
cannot but be received as proof of the disposition of this government to advance the
interests of lreland,' My sentiments, too,
Owen, This survey demonstrates the government's interest in lreland and the captain thanks
you for listening so attentively to him,
HueH. Our pleasure, Captain.
Lnrucrv. LieutenantYolland?
-
You-nru0. I - | - I've nothing to say - really
Oweru; The captain is the man who actually makes the new map. George's task is to see that
the place-names on this map are .,, correct. [Io Youeruo.] Just a few words - they'd like
to hear you. [Io c/ass.] Don't you want to hear George, too?
Mntne. Has he anything to say?
You-eru0, [to Marne]. Sorry - sorry?
Oweru. She says she's dying to hear you.
You-nru0. [fo Mnrne]. Very kind of you - thank you ,,. [Io c/ass,] I can only say that I feel - |
feel very foolish to - to - to be working here and not to speak your language. But I intend
to rectify that - with Roland's help - indeed I do,
Oweru. He wants me to teach him lrish!
HuoH. You are doubly welcome, sir,
Yor-r-Rru0.
i tninf your countryside is - is - is - is very beautiful. I've fallen in love with it
already, I hope we're not too - too crude an intrusion on your lives, And I know that I'm
going to be happy, very happy, here
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OwEtr, He is alrbady a committed Hibernophile
Jrtrn,ly, He loves
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Oweru. All right, Jimmy
-
we know
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Seite 8
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he loves Baile Beag; and he loves you all.
Huctt. Please,,, May l,;.? [HueH isnowdrunk. Heholdsontotheedgeof thetable.l
Owett. Go ahead, Father. [Hands up foi quiet.]Please - please.
Hue1,
we, gentlemen, we in turn are happy to offer you our friendship, our hospitality,
,And
and every assistance that you may require. Genflemen welcome!
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Brian Fnel, Translafions; in: Modern lrish Drama, ed. John
Norton, 1991J, 339-3411
[1om
p. Harrington
york:
[New
Skizzieren Sie die Charakterisierung der Figuren sowie die Figurenkonstellation beziiglich der
Position der Charaktere zt Irland!
2
Welche Funktion hat Sprache in der Textpassage?
a
)
Diskutieren und kommentieren Sie Owens Ubersetzertiitigkeit in dieser Szene!
4
Welche Themen post-kolonialer Literatur werden im Text angesprochen? Ordnen Sie die spezifisch irische Problematik von Translations in den post-kolonialen Diskurs ein!
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Herbst 2013
62618
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Thema Nr. 6
Sir Philip Sidney: Sonnet
XV
(fromlstrophil and Stella,l5gl)
You that do search for every purling spring
Which from the ribs of old Parnassus flows,
And every flower, not sweet perhaps, which grows
Near thereabouts into your poesy wring;
You that do dictionary's method bring
Into your rhymes, running'in rattling rows;
You that poor Petrarch's long-deceased woes
With new-born sighs and denizened wit do sing;
You take wrong ways, those far-fet helps be such
As do bewray a want of inward touch,
And sure at length stol'n goods do come to light.
But if, both for your love and skill, your name
You seek to nurse at fullest breasts of Fame,
10
Stella behold, and then begin to endite.
purling murmuringl 2 Parnassus Greek mountain saererl to Muses and
Ano!!o: 4 wrins
--------F'----E--L------2
zened naturalised; 9 far-fet farfetched; 10 bewray betray, 14 endite write, oompose
1
sor-reeze: 8
deni-
Edmund Spenser: SONNET LXXXI (from Amoretti, 1595)
FAYRE is my loue, when her fayre golden heares,
with the loose wynd ye wauing chance to marke:
fayre when the rose in her red cheekes appeares,
or in her eyes the fure of loue does sparke.
Fayre when her brest lyke a rich laden barke,
with pretious merchandize she forth doth lay:
fayre when that cloud ofpryde, which oft doth dark
her goodly light with smiles she driues away.
But fayrest she, when so she doth display,
the gate with pearles and rubyes richly dight:
throgh which her words so wise do make their way
to beare the message of her gentle spright,
The rest be works of natures wonderment,
but this the worke of harts astonishment.
5 barke three-masted ship;
I
2.
J.
10
l0 dight clad; 12 spright spirit,
soul
Nehmen Sie eine vergleichende Analyse der Gedichte im Hinblick auf Thematik, Aufbau, Metrik, Bildlichkeit und sprachliche Gestaltung vor!
Erliiutern Sie Sprechsituation und Kommunikationszusammenhang !
Erliiutern Sie den Bezu€ der Gedichte auf die europiiische Sonetttradition!
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Herbst 2013
Einzelprüfungsnummer 62618
Seite 10
Thema Nr. 7
Erörtern Sie, welche Auswirkung das historische Ereignis des Ersten Weltkriegs auf die englische
Dichtung hatte!
Gehen Sie dabei auf mindestens zwei verschiedene Strömungen innerhalb der Kriegsdichtung ein und
geben Sie Hinweise zur vorherrschenden dichterischen Formgebung sowie zum Sprachgebrauch!
Beziehen Sie sich dabei auf selbstgewählte Beispiele von mindestens drei verschiedenen Autoren!
r:
Thema Nr. 8
Auszug aus: George Henry, An Account ofthe Chippewa Indians, Who Have Been Travelling Among
the Whites, in the United States, England, Ireland, Scotland, and Belgium (1848); repr. In Bernd Peyer
(Hg.), American Indian Nonfiction. An Anthology of Writings, 1760s-1930s. Norman: University of
Oklahoma Press, 2007.197-204. Hier: 198-199.
Text:
They say that there are eighty thousand common wives [prostitutes] in the City of London. They say
that they are allowed to walk in the streets every night for the safety ofthe married women. The English officers invited us to eat with them in their barracks in our native costume. When the tea got ready,
the ladies were brought to the table like sick women; it took us about two hours in eating. The ladies
were very talkative while eating; like ravens when feasting on venison. Indeed, they have a proverb
which says, "Thieves and robbers eatand drink a little, and make no noise when they eat." They are ,
very handsome; their waists, hands and feet are very small; their necks are rather longer than those of
our women. They carry their heads on one side of the shoulder; they hold the knife and fork with the
two forefingers and the thumb of each hand; the two last ones are of no use to them, sticking out like
our fish-spears, while eating.
.
The English officers are fine, noble, and dignified looking fellows. The voice of them when coming
out ofthe mouth, sounds like the voice of a bull-frog. The only fault we saw ofthem, are their too
many unnecessary ceremonies while eating, such as, allow me Sir, or Mrs. to put this into your plate. If
you please Sir, thank you, you are very kind, Sir, or Mrs. can Lhave the pleasure ofhelping you?
Many ofthe Englishmen have very big stomachs, caused by drinking too muchale and porter. Those
who drink wine and brandy, their noses look like ripe strawberries.
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When we got ready to leave, one of the officers said to us, our ladies would be glad to shake hands
with you, and we shook hands with them. Then they were talking amongst themselves; then another
officer said to us, "Friends, our ladies think that you do not pay enough respects to them, they desire
you to kiss them; then we kissed them according to our custom on both cheeks. "Why! They have
kissed us on our cheeks; what a curious way ofkissing this is." Then another officer said to us, "Gentlemen, our pretty squaws are not yet satisfied; they want to be kissed on their mouths." Then we
kissed them on their mouths; then there was a great shout amongst the English war-chiefs. Say-saygon, our war-chief, then said in our language to the ladies: "That is all you are good for; as for wives,
you are good for nothing." The ladies wanted me to tell them what the war-chief said to them. I told
them that he said he was wishing the officers would invite hirn very often, that he might again kiss the
handsome ladies. Then they said, "Did he? then we will tell our men to invite you again, for we like to
be kissed very often; tell hirn so." They put gold rings on our fingers and gold pins on our breasts, and
when we had thanked them for their kindness, we got into our carriage and went to our apartments.
r:
AufgabensteIlung:
1.
Skizzieren Sie, welche Aspekte englischen Lebens Mitte des 19. Jahrhunderts hier von dem
,indianischen' Besucher in den Vordergrund gestellt werden!
2.
Analysieren Sie, mit welchen Mitteln kulturelle Differenz in Szene gesetzt wird!
3.
Diskutieren Sie die Passage vor dem Hintergrund einer Umkehrung des anthropologischen
Blickes!
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Seite 12
Thema Nr. 9
Der vorliegende Textauszug stammt aus Stephen Cranes Roman Maggie; A Girl of the Sneets
(1S93). Anhand der Erfahrungen der Titelfigur setzt sich dieser mit dem Leben in den
zeitgendssischen Slum-Bezirken New Yorks auseinander
An orchestra ofyellow silk women and bald-headed men on an elevated stage near the centre of a
great green-hued hall, played a popular waltz. The place was crowded with people grouped about
little tables. A battalion of waiters slid among the throng, carrying trays of beer glasses and making
change from the inexhaustible vaults oftheir trousers pockets. Little boys, in the costumes ofFrench
chefsl paraded up and down the inegular aisles vending fancy cakes. There was a low rumble of
conveisation and a subdued clinking of glasses. Clouds of tobacco smoke rolled and waverod high
air about the dull gilt of the chandeliers.
The vast .ro*d had an air throughciut of having just quitted labor. Men with calloused hands and
attired in garments that showed the wear of an-endless trudge for a living, smoked theii
contented$ and spent five, teno or perhaps fitteen cents for beer. There was a mere sprinkifuig of
gloved mei who imoked cigars purctrasid elsewhere. The great body ofthe crowd was composed
with maybe their
feople who showed that all day ihey strove with their hands. Quiet Germans,
of happy cows. An
the
expressions
music,
with
to
the
ind. two or three children, sat listening
in
pipes
kidof
wives
\
.
i
i
i
occasional paity of sailors from a war-ship, their faces pictures of Sturdy health, spent the earlier hours
of the evening at the small round tables. Very infrequent tipsy meno swollen with the value of their
opinions, engaged their companions in earnest and confidential conversation. In the balcony, and here
and there below, shone the impassive faces ofwomen. The nationalities ofthe Bowery beamed upon
the stage from
up a side aiste and took seats with Maggie at a table beneath the balcony.
]liilT:tffi:
"Two beehs!"
Leaning back he regarded with eyes of superiority the scene before them. This attitude affected
Maggie strongly. A man who could regard such a sight with indifference must be accustomed to
very
great things.
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It was obvious that Pete had been to this place many times before, and was very familiar with it. A
knowledge ofthis fact made Maggie feellittle and new.
He was extremely gracious and attentive. He displayed the consideration of a cultured gentleman
who knew what was due.
"Say, what deh hell? Bring deh lady a big glass! What deh hell use is datpony?"
"Don't be fresh, now," said the waiter, with some warmth, as he departed.
"Ab, git off deh eart' ," said Pete, after the other's retreating form.
Maggie perceived that Pete brought forth all his elegance and all his knowledge of high-class
customs for her benefit. Her heart warmed as she reflected upon his condescension.
The orchestra ofyellow silk women and bald-headed men gave vent to a few bars ofanticipatory
music and a girl, in a pink dress with short skirts, galloped upon the stage. She smiled upon the throng
as if in acknowledgment of a warm welcome, and began to walk to and fro, making profuse
gesticulations and singing, in brazen soprano tones, a song, the words ofwhich were inaudible. When
she broke into the swift rattling measures of a chorus some half-tipsy men near the stagejoined in the
rollicking refrain and glasses were pounded rhythmically upon the tables. People leaned forward to
watch her and to try to catch the words ofthe song. When she vanished there were long rollings of
applause.
übedient to more anticipatory bars, she reappeared amidst the half-suppressed cheering of the
tipsy men. The orchestra plunged into dance music and the laces ofthe dancer fluttered and flew in the
glare of gas jets. She divulged the fact that she was attired in some half dozen skirts. It was patent that
any one of them would have proved adequate for the purpose for which skirts are intended. An
occasional man bent forward, intent upon the pink stockings. Maggie wondered at the splendorofthe
costume and lost herselfin calculations ofthe cost ofthe silks and laces.
The dancer's smile of stereotyped enthusiasm was turned for ten minutes upon the faces ofher
audience. In the finale she fell into some ofthose grotesque attitudes which were at the time populär
among the dancers in the theatres up-town, giving to the Bowery public the phantasies of the
aristocratic theatre-going public, at reduced rates.
Ausgabe: JosephKatz,
ed. The Portable Stephen Crane. Harmondsworth: Penguin, 1977.26-29.
Fragen:
1.
Identifizieren
Sie die Erzählperspektive
in der Textpassage
2.
Welche Mittel der Figurenzeichnung
se?
3.
Welche weiteren erzählerischen
Textpassage?
4.
Situieren Sie Cranes Text literaturgeschichtlich
im Kontext des amerikanischen Realismus
bzw. Naturalismus! Beziehen Sie dabei in Ihre Erläuterungen mit ein, welche Sicht(en) von
"Realität" in dieser Epoche entwickelt wurde(n)!
werden herangezogen
und stilistischen
und analysieren
Sie deren Funktion!
und welche Funktionen
Gestaltungsmittel
haben die-
prägen die Bedeutung
der
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62618
Thema Nr. 10
Auszug aus:.Malcolm X, Ihe Autobiography of Malcom X (as tolO to Alex Haley), New York:
Penguin, 1965.
Chapter One
Nightmare
When my motherwas pregnant with me, she told me later, a party of hooded Ku Klux Klan
riders galloped up to our home in Omaha, Nebraska, one night. Surrounding the house;
brandishing their shotguns and rifles, they shouted for my father to come out. My mothpr
went to thefront door and opened it..Standing where they could see her pregnant condition,
she told them that she was alone with her three small children, and that my father was hway,
preaching in Milwaukee. The Klansmen shouted threats and warnings at her that we had
better get out of town because "the good Christian white people" were not going to stand for
my father's "spreading trouble" among the 'lgood" Negroes of Omaha with the "back to.Africa"
preachings of Marcus Garvey.
My fathei the Reverend Eari Little, was a Baptist minister, a dedicated organizer for Marcus
Aurelius Garvey's U.N.l.A. (Universal Negro lmprovement Association). Wth the help of such
disciples as my father, Garvey, from his headquarters in New York City's Harlem, was raising
the banner of black-race purity and exhorting the Negro masses to return to their ancestral
African homeland - a cause which had made Garvey the most controversial black man on
earth.
Stiiiinorting threats, the Klansmen finally spurred their horses and galloped around the
house, shattering every window pane with their gun butts. Then they rode off into the night,
their torches flaring, as suddenly as they had come.
My father was enriged when ne returned. He decided to wait until I was born - which Would
be soon - and then the family would move. I am not sure why he made this decision, for he
was not a frightened Negro, as most then were, and many still are today. My father waf a
big, six-foot-four, very black man. He had only one eye. How he had lost the other one I have
never known,
He was
fro.t.l"Vn.olds, Georgia, where he had left school after the third or maybe fourth
graq9. He believed, as did Marcus Garvey, that freedom, independence
ano s6f-ie;J;;i
could never be achieved by the Negro in America, and that therefore the Negro snojJ
t".u"
America to the white man and return to his African land of origin. Among tne-reasons
my
father had decided to risk and dedicate his life to help dissem'inate this
finiiosopny among his
people was that he had seen four of his six brothers die by violence,
three of tfreri f<if feA
white men, including one by lynching.
What my father could not know thenwas that of the remaining three, including himself,
only
one' my Uncle Jim, would die in bed, of natural causes. Norttiern white poliee-were tatir
to'
shoot my Uncle Oscar..And
1ny father was finally himself to die by the *trite man's hahds.
It has always been my belief that l, too, willdie tiy violence. I hav! done allthat I
."nlb-5"
prepared.
iy
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I
Seite 15
I
Arbeiten Sie heraus, wie der Erziihler den Bericht tiber sein Leben eniffiret, was i.iber ihn, seine
Familie und die Gruppe, der er angehdrt, ausgesagt wird und was das zentrale Thema ist!
)
Stellen Sie diesen Text in den Kontext der amerikanischen und afroamerikanischen autobiografischen Erztihltradition seit denslave narratives des 19. Jahrhunderts! Welche Besonderheiten
kennzeichnen hiiufig die Texte schwarzer Autoren und Autorinnen?
J
Welche Rolle spielt Malcolm X im Kontext der sozialen Protestbewegungen der 1960er Jahre?
Mit welchen Positionen wird er identifiziert und mit welchen Personen und Positionen kontras-
tiert?
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..
.;. .i\;.
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The Dance
In Brueghel's great picture, The Kermess,
the dancers go round, they go round and
around, the squeal and the blare and the
tweedle of bagpipes, a bugle and fiddles
tipping their bellies (round as the thicksided glasses whose wash they impound)
their hips and their bellies off balance
to turn them. Kicking and rolling about
the Fair Grounds, swinging their butts, those
shanks must be sound to bear up under such
rollicking measures, prance as they dance
in Brueghel's great picture, The Kermess.
5
l0
1944
William Carlos Williams, ,,The Dance", Norton Anthologt of American
hrsg. von Nina Baym et al. Q.{ew York: Norton, 1998),1225.
Literature,Yol.2,
Analysieren Sie das Gedicht nach formalen Gesichtspunkten!
Diskutieren Sie das Zusamrnenwirken von Form und Inhalt! Welchen Effekt erzielt das Gedicht?
Kontextualisieren Sie den Autor und den Text innerhalb der amerikanischen Literaturgeschichte!
-17 -
.r!..
. ,.. . ..:..i
Einzel priifu ngsnrmrmer 62618
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Thema Nr. 12
1.
Analysieren Sie den dramatischen Konflikt, der in dem Ausschnitt deutlich wird, und charakterisieren Sie seine Bedeutung fiir das Stiick insgesamt!
2.
Situieren Sie die biihnentechnischen und szenischen Mittel des Stiicks im Kontext des amerikanischen Dramas in der ersten Hiilfte des 20. Jahrhunderts!
3.
Fiihren Sie aus, welche Bedeutung Millers Drama hinsichtlich der Zeitwahrnehmung von Familie
wtd Amer ic an Dr e am zukommt!
B,ff Dad-l let you down.
Mlly: \ilhat do you meani
Bif: Dad. .
Villy: Biffo, what's this abouti (Pucrirrg
.
his arm around,Br.ff. ) Come on, let's go
downstairs and get you a malted.
Bi#'- l-)ad
I {l"nlred meth
--,
-'tJ
-
Mlll: Not for the cerm?
Bff The term. I haven't
got enough credirs to graduate.
You mean to say Bemard wouldn't give you the answers?
Bff He did, he tried, but I only got a sixty-one.
lVilf r And they wouldn'r give you four poinrs?
Bff Bimbaum refixed absolutely. I begged him, Pop, but he won't give me
those points. You gotta talk to him before they close the school. Because if
he saw the kind of man you are, and you jusr ralked to him in your way, I'm
sure he'd come through for me. The class came right befbre practice, see,
and I didn't go enough. !7ould you talk co him? He'd like you, Pop. You
know the way you could talk.
Mlll; You're on. \7e'll drive right back.
Brff Oh, Dad, good work! I'm sure he'll change it for you!
Ml!; Go downstairs and tell the clerk I'm checkin'out. Co right down.
U/il!:
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Biff; Yes, Sir! See, the reason he hates me, Pop---one day he was lace for class so
I got up ar the blackboard and iminred him' I cossed my eyes and talked
with a lithp.
Willy (laughing): You did? The kids like it?
B,f, ffrey
nearly died laughingl
!V'illy; Yeah? \UhaCd you do?
Ufi The thquare root of rhix*ry rwee is . . . (\X/ilb bwsrs outlaughing;
him.) And in the middle of it he walked inl
Bff joirc
tX/ilIy laugl$ ond, Tlw Wonwn joins in off smge .
WiIb @irhcr.ttlwsimting): Hurry downstairs
and-
Bifi Somebody in rhere?
Mlly: No, that was next door.
The
W onan lauglx offsnge
Biff Somebody got in your bathrooml
Mlly: No, it's the next room, there's a parryThewonwn (enters, Iaughing She
lisps
this): Can I come in? There's something in
the bathtub, \flilly, and it's moving!
Witb
lnolcs
lVornan'
atBiff , who is staring open'moutlwd and.honified atThe
better go back to your room. They musr be finished painting by
now. They're painting her room so I let her take a shower here. Go back, go
Mlly: Ah-you
back...
(Heprufusher.)
TheVonran (resisting): But I've got to get dressed, Willy, I ss11r1-willy: Ger out of here ! Go back, go back . . . (sudfutb srriuing for the ordinary .)
This is Miss Francis, Biff, she's a buyer. They're painting her room. Go back,
Miss Francis, go back . .
.
TlwWonon: But my clothes, I can't go out naked in the hall!
Mlly (pnsfung hu offsrnge): Get outa here! Co back, go backl
Biff
slowly
sir doum onhb
suirrase as tJle mgumentcontinuzs offsmge.
Textausschnitt: Arthur Miller. Death of a Salesman (1949)-Aus: Kennedy/Gioia (Hg.). Literature
New York 1999, 1,694195.
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