Ifarehsf - Phil.

Prtifungsteilnehmer
Einzelpriifungsnum mer
Priifungstermin
Kennzahl:
Ifarehsf
llf..t
lrlt t,
Kennwort:
2009
Arbeitsplatz-Nr.:
Erste Staatspriifung
Fach:
62618
fiir
ein Lehramt an iiffentlichen Schulen
Prtifungsaufgaben
:-
Englisch (vertieft studiert)
Einzelpriifung: Wissenschaftl.Klausur-Literaturw.
Anzahl der gestellten Themen (Aufgaben): 13
Azahlder Druckseiten dieser
Vorlage:
20
Thema Nr.
1
I
Vergleichen Sie die Romananfiinge von Daniel Defoes Robinson Crusoe und Samuel
Richardsons Pamela (s. Textvorlagen)! Gehen Sie dabei insbesondere auf die
Gemeinsamkeiten und die Unterschiede ein, die die beiden Texte in Bezug auf die
Erz?ihlsituation, die sprachlich-stilistische Darstellung und die Figurencharakterisierung
aufirueisen; beriicksichtigen Sie auch inhaltliche Parallelen und Unterschiede!
2
Vergleichen Sie unter Beriicksichtigung des literatur- und kulturgeschichtlichen Kontexts die
Figur und Figurenzeichnung der Titelhelden von Defoes Robinson Crusoe und von
Richardsons Pamela mit der eines Protagonisten und einer Protagonistin in mindestens einem
von einer weiblichen Autorin verfassten Roman des langen 18. Jahrhunderts (ca. 1700 - 1830)!
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I WAS born in the year 1632, in the city of York, of a good family, tho'not of that
country, my father being a foreigner of Bremen, who settled first at Hull. He got a
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good estate by merchandise, and leaving off his trade lived afterward at York, from
whence he had marricd my mother, whose relations \,vere narned Rrobinson, a a,/ery
good family in that country, and from whom I was called Robinson Kreutznaer; but,
by the usual comrption of words in England, we are now called , fldy, we call our
selves and write our name, Crusoe, and so my companions always called me.
t...1
Being the third son of the family and not bred to any trade, my head began to be
filled very early with rambling thoughts. My father, who was very ancient, had given
me a competent share of learning, as far as house-education and a country free-school
generally goes, and designed me for the law; but I would be satisfied with nothing but
going to sea, and my inclination to this led me so strongly against the will, nay, the
commands of my father, and against all the entreaties and perswasions of my mother
and other friends, that there seemed to be something fatal in that propensity of nature,
tending directly to the life of misery which was to befal me.
My father, a wise and grave man, gave me serious and excellent counsel against
what he foresaw was my design. He called me one morning into his chamber, where
he was confined by the gout, and expostulated very warmly with me upon this subject.
He asked me what reasons, more than a mere wandering inclination, I had for leaving
my father's house and my native country, where I might be well introduced, and had a
prospect of raising my fortune by application and industry, with a life of ease and
pleasure. He told me it was men of desperate fortunes on one hand, or of aspiring,
superior fortunes on the other, who went abroad upon adventures, to rise by enterprize,
and make themselves famous in undertakings of a nature out of the common road; that
these things were all either too far above me or too far below me; that mine was the
middle state, or what might be called the upper station of low life, which he had found,
by long experience was the best state in the world [...]
He bid me observe [...] that the middle station of tife was calculated for all kinds
of virtues and all kind of enjoyments; that peace and plenty were the hand-maids of a
middle fortune; that temperance, moderation, quietness, health, society, all agreeable
diversions, and all desirable pleasures, were the blessings attending the middle station
of life; that this way men went silently and smoothly through the world, and
comfortably out of it, not embarrassed with the labours of the hands or of the head, not
sold to the life of slavery for daily bread, or harassed with perplexed circumstances,
which rob the soul of peace, and the body of rest; nor enraged with the passion of
envy, or the secret burning lust of ambition for great things; [...]
After this he pressed me earnestly, and in the most affectionate manner, not to play
the young man, nor to precipitate my self into miseries which nature and the station of
life I was bom in seemed to have provided against; [...] and tho' he said he would not
cease to pray for me, yet he would venture to say to me, that if I did take this foolish
step, God would not bless me, and I should have leisure hereafter to reflect upon
having neglected his counsel when there might be none to assist in my recovery.
(Daniel Defoe, The Life and Adventures of Robinson Crusoe, ed. Angus Ross. Penguin:
Harmondsworth, 1965, pp. 27 -29.)
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My dear Father and Mother,
I have great trouble, and some comfort, to acquaint you with. The trouble is, that my
good lady died of the illness I mentioned to you, and left us all much grieved for the
loss of her; for she was a dear good lady, and kind to all us her servants. Much I
feared, that as I was taken by her ladyship to wait upon her person, I should be quite
destitute again, and forced to return to you and my poor mother, who have enough to
do to maintain yourselves; and, as my lady's goodness had put me to write and cast
accompts, and made me a little expert at my needle, and otherwise qualified above my
degree, it was not every family that could have found a place that your poor Pamela
was fit for: But God, whose graciousness to us we have so often experienced, put it
into my good lady's heart, on her death-bed, just an hour before she expired, to
recommend to my young master all her servants, one by one; and when it came to my
turn to be recommended (for I was sobbing and crying at her pillow) she could only
say, 'My dear son!' and so broke off a little; and then recovering, 'Remember my poor
Pamela!'And those were some of her last words! O how my eyes overflow! Don't
wonder to see the paper so blotted!
Well, but God's will must be done! and so comes the comfort, that I shall not be
obliged to return back to be a burden to my dear parents! For my master said, 'I will
take care of you all, my good maidens; and for you, Pamela,' (and took me by the
hand; yes, he took my hand before them all), 'for my dear mother's sake, I will be a
friend to you, and you shall take care of my linen!' God bless him!
(Samuel Richardson, Pamela; Or, Virtue Rewarded, ed. Peter Sabor. Harmondsworth:
Penguin, 1985, p.43.)
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Seite 4
Thema Nr. 2
Domestic Space:
1
Rekonstruieren Sie am Beispiel von mindestens drei Romanen des 19. Jahrhunderts
viktorianische Vorstellungen von idealer Hduslichkeit!
2.
Erdrtern Sie, ob in den von Ihnen gewtihlten Texten ,Gliick' auch auBerhalb des hiiuslichen
Rahmens vorstellbar ist!
J
Stellen Sie dar, ob in dem von Ihnen gewtihlten Texten die Vorstellungen von idealer
Htiuslichkeit ftir miinnliche und weibliche Romanfiguren identisch sind!
mt
- -_ tTrnema
r\r. J-
Bei dem beigeftigten Textausschnitt handelt es sich um den Anfang des letzten Abschnitts, des sog.
,,Penelope"-Kapitels, aus dem Roman Ulysses (1922) von James Joyce (1882 - l94l).
I
Analysieren Sie zuniichst - nach einem Ihnen bekannten Modell - die Erziihlsituation und
zeigen Sie, auf welche Weise darin Wirklichkeit zur Sprache gebracht wird!
)
Diskutieren Sie, was ftir Strukturierungsmittel die Textpassage einsetzt, um Erinnerungen und
'
Erlebnisse narrativ zu fassen, und was daraus flir ein Versttindnis von Person und Charakter
folgl!
J
Ordnen Sie diese Diskusbion in das Programm und die Entwicklung von Erziihlkunst in der
europiiischen Modeme ein!
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[18]
Yes because he never did a thing like that before to ask to get his breakfast in bed
with a couple of eggs since the Crty arms hotel when he used to be pretending to be
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faggot Mrs Riordan that he thought he had a great leg of and she never left us a
farthing all for masses for herself and her soul greatest miser ever was actually afraid
to lay out 4d for her methylated spirit telling me all her ailments she had too much old
chat in her about politics and earthquakes and the end of the world let us have a bit of
fun first God help the world if all the women were her sort down on bathing-suits and
lownecks of course nobody wanted her to wear t suppose she was pious because no
(0 man would look at her twice I hope I'll never be like her a wonder she didnt want us to
cover our faces but she was a welleducated woman certainly and her gabby talk about
Mr Riordan here and Mr Riordan there I suppose he was glad to get shut of her and
her dog smelling my fur and always edging to get up under my petticoats especially
then still I like that in him polite to old women like that and waiters and beggars too
hes not proud out of nothing but not always if ever he got anything really serious the
matter with him its much better for them go into a hospital where everything is clean
but I suppose ld have to dring it into him for a month yes and then wed have a hospital
nurse next thing on the carpet have him staying there titl they throw him out or a nun
maybe like the smutty photo he has shes as much a nun as lm not yes because
theyre so weak and puling when theyre sick they want a woman to get well if his nose
bleeds youd think it was O tragic and that dyinglooking one off the south circular when
he sprained his foot at the choir party at the sugarloaf Mountain the day I wore that
dress Miss Stack bringing him flowers the worst old ones she could find at the bottom
of the basket anything at all to get into a mans bedroom with her old maids voice
trying to imagine he was dying on account of her to never see thy face again though
he looked more like a man with his beard a bit grown in the bed father was the same
besides I hate bandaging and dosing when he cut his toe with the razor paring his
corns afraid hed get blood poisoning but if it was a thing I was sick then wed see what
attention only of course the woman hides it not to give all the trouble they do yes he
Jg came somewhere lm sure by his appetite anyway love its not or hed be off his feed
thinking of her so either it was one of those night women if it was down there he was
really and the hotel story he made up a pack of lies to hide it planning it Hynes kept
me who did I meet ah yes I met do you remember Menton and who else who let me
see that big babbyface I saw him and he not long married flirting with a young girl at
Pooles Myriorama and turned my back on him when he slinked out looking quite
conscious what harm but he had the impudence to make up to me one time well done
to him mouth almighty and his boiled eyes of all the big stupoes I ever met and thats
called a solicitor only for I hate having a long wrangte in bed or etse if its not that its
some little bitch or other he got in with somewhere or picked up on the sly if they only
f6r knew him as well as I do yes because the day before yesterday he was scribblini
something a letter when I came into the front room for the matches to show him
Dignams death in the paper as if something told me and he covered it up with the
lb
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blottingpaper pretending to be thinking about business so very probably that was it to
somebody who thinks she has a softy in him because all men get a bit like that at his
age especially getting on to forty he is now so as to wheedle any money she can out
of him no iooi iike an oici fool ancj ihen the usuai kissing m'y' bottom was to hide it not
that I care two straws who he does it with or knew before that way though ld like to
find out so long as I dont have the two of them under my nose all the time like that slut
that Mary we had in Ontario terrace padding out her false bottom to excite him bad
enough to get the smell of those painted women off him once or twice I had a
suspicion by getting him to come near me when I found the long hair on his coat
without that one when I went into the kitchen pretending he was drinking water I
woman is not enough for them it was all his fault of course ruining servants then
proposing that she could eat at our table on Christmas if you please O no thank you
not in my house stealing my potatoes and the oysters 216 per doz going out to see her
aunt if you please common robbery so it was but I was sure he had something on with
that one it takes me to find out a thing like that he said you have no proof it was her
proof O yes her aunt was very fond of oysters but I told her what I thought of her
suggesting me to go out to be alone with her I wouldnt lower myself to spy on them
the garters I found in her room the Friday she was out that was enough for me a little
bit too much I saw too that her face swelled up on her with temper when I gave her her
weeks notice better do without them altogether do out the rooms myself quicker only
for the damn cooking and throwing out the dirt I gave it to him anyhow either she or
me leaves the house I couldnt even touch him if I thought he was with a dirty
barefaced liar and sloven like that one denying it up to my face and singing about the
place in the W C too because she knew she was too well off yes because he couldnt
possibly do without it that long so he must do it somewhere and the last time he came
on my bottom when was it the night Boylan gave my hand a great squeeze going
along by the Tolka in my hand there steals another ljust pressed the back of his like
.79 that with my thumb to squeeze back singing the young May Moon shes beaming love
because he has an idea about him and me hes not such a fool he said lm dining out
and going to the Gaiety though lm not going to give him the satisfaction in any case
God knows hes change in a way not to be always and ever wearing the same old hat
unlessl paid some nieelooking boy to do it since I cant do it myself a young boy would
like me ld confuse him a little alone with him if we were ld let him see my garters the
new ones and make him turn red looking at him seduce him I know what boys feel
with that down on their cheek doing that frigging drawing out the thing by the hour
question and answer would you do this that and the other with the coalman yes with a
bishop yes I would because I told him about some Dean or Bishop was sitting beside
EO me in the jews Temples gardens when I was knitting that woollen thing a stranger to
Dublin what place was it and so on about the monuments and he tired me out with
statues encouraging him making him worse than he is who is in your mind now tell me
who are you thinking of who is it tell me his name who tell me who the German
Emperor is it yes imagine lm him think of him can you feel him trying to make a whore
of me what he never will he ought to give it up now at this age of his life simply
ruination for any woman and no satisfaction in it pretending to like it I...]
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Thema Nr.4
Erliiutem Sie die struktureiien und thematischen Funktionen von kontrastierenden bzw. diaiektisch
aufeinander bezogenen Schaupliitzenin Shakespeares Komridien anhand von mindestens zwei
Beispielen! Gehen Sie dabei auch auf Fragen der Gattungstradition (etwa Pastorale oder Idylle und
Tragikkomodie oderfestive comedy) ein und errjrtern Sie beispielhaft, inwiefern und auf welche Weise
auch zeitgentissische Konflikte (etwa sozialer, geschlechtlicher oder anderer Art) iiber die antithetische
Raumstruktur vermittelt werden !
Thema Nr. 5
Das Jahr 1956 gilt als der Beginn einer bis heute andauernden Bltitezeit des britischen
Dramas und Theaters. Neue Dramenformen und Innovationen auf der Biihne
entwickelten sich in der Regel in Abhtingigkeit von den politischen Ideen der Autoren
und Autorinnen. Dies gilt insbesondere ftir Dramen, die sich mit geschichtlichen
Themen auseinander setzen. Edward Bond stellte daher fest: "Our age, like every age,
needs to reinterpret the past as part of learning to understand itself, so that we can know
what we are and what we should do."
Der sozialistische Autor Howard Brenton erudhltin Bloody Poetry vom ExilAufenthalt (1816-1822) einiger Dichter der englischen Romantik in der Schweiz
und Italien. Byron, Shelley, seine Frau Mury, deren Stiefschwester Claire
Clairmont und der Arzt und Autor Polidori versuchen in Brentons Deutung ein
privates Utopia zu verwirklichen. ImZentrum steht die politische Interpretation
und Umdeutung des platonischen Hdhlengleichnisses.
Welches ist danach die politische Funktion von Literutur? Wie wird Geschichte
in dem vorliegenden Beispiel verwendet?
2
Analysieren Sie die Figurendarstellung und Erztihlfiihrung in diesem Ausschnitt
vor dem Hintergrund des performativen Charakters von Dramen!
a
J
Stellen Sie an zumindest zwei weiteren Nachkriegsdramen die radikalen
Deutungen historischer Persrinlichkeiten und Ereignisse im Kontext
zeitgendssischer politischer und sozialer Kontexte dar und beriicksichtigen Sie
dabei sowohl formale als auch inhaltliche Aspekte!
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BYRON. But Madam, two thousand years of philosophising rests upon the parable of
Plato's cave. It is meant to be the greatest statement of the predicament of mankind.
BYSSHE. Let's do it!
BYRON. Do it?
BYSSHE. This drawing-room - make it the cave.
BYRON. Ah! Now! House party games [...] You are to be chained, Polidori, hand, head
and leg, in the great cave of philosophical mystery.
POLIDORI. I - protest - I BYSSHE. The fire in the cave!
BYRON. Candelabra!
They move the candelabra to the front of the stage. N.B. the light from a footlight
throws all their shadows onto the wall.
MARY. In a dark cave sit prisoners. Their legs and necks are chained,
so
tight they
cannot turn their heads.
BYRON. Polidori! At last a r6le in life!
POLIDORI. No, please!
BYRON whipping of
a
belt, approaching POLIDORI.
BYRON. You'te going to love this, Polidori! Bysshe, a hand in this torturing!
BYRON and BYSSHE manhandling POLIDORI, sitting him down, facing the back
wall, tying his hands behind his back.
BYSSHE. The human condition, doctor!
t. ..1
POLIDORI. I will argue philosophy - but I do not wish to come to any harm.
BYSSHE laughs
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BYRON. What, you think philosophy, you think poetry harmless sir? Sir, it can maim,
it can mutilate, it can imprison men, women and children, blinded for centuries, it can
kill. Sir, I thought you an intellectual - do you not know ideas can kill?
t. ..1
IPOLIDORI's] shadow looms on the wall. He tries to move his head, he cannot.
MARY. Behind the prisoners, there is a fire. The light of the fire throws the shadows
the prisoners on the wall. [...] Between the fire and the chained prisoners runs a road.
Along the road go men and animals. The prisoners see the shadows on the wall.
of
CLAIRE. Bysshe!
First CLAIRE then BYSSHE cross the stage, distorting their arms and bodies into
shapes that cast shadows on the wall. They combine to form animals - birds, cattle, a
giraffe.
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the shadows cast? BYRON. No, Socrates!
MARY. And
so they would believe that the shadows, and the shadows of themselves,
were real? BYRON. Yes, Socrates! Inevitably!
MARY. But now, what would happen to them if they were released from their chains
and cured of their delusions?
BYRON. They would go mad, mad, mad!
CLAIRE. Keep to the text, George
MARY. Suppose one of them were let loose, made to stand up, turn his head. And walk
toward the fire. Suppose he was told that what he used to see was mere illusion, do you
not think he would be at a loss?
BYRON. Mad! Mad! [...] Yes, yes Socrates.
MARY. And if he were dragged up out of the cave, and saw the sun, would he not be in
terror? BYRON. Yes yes yes yes! Socrates!
MARY. And now I tell you, our real sun is but the fire in the cave. We are as distant
the prisoners, chained before shadows, as we are from our true sun. Which some call
God. Which I call absolute good. She closes the book.
as
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BYRON. If I were such a prisoner, tell ye what I would do. Bribe a guard. For a gun.
Blast my way up out onto the hillside. And make love with the first man, woman, boy,
girl or animal in sight! Ye Gods! And that dismal parable, is to date the greatest
philosophical account of the condition of man kind? The world is bioody - and real and we know it. Why torment ourselves with ghosts? CLAIRE. But what would you
bribe a guard with?
BYRON. My arse madam, if need be!
CLAIRE I
see.
BYSSHE flares up.
BYSSHE. The fire in the cave is the past, by which we see now. The sun on the hillside,
is the future of mankind. It is our future that is the absolute good! Plato himself was a
prisoner, religion a flicker in the cave! The mind of man, that is the true sun! We are the
instruments of that future light!
t. ..1
POLIDOR-I.
i!
i...1
i - cannot tum my head.
BYRON. Don't be a fool, sir.
POL IDORI. I - am frightened what I shall see!
BYRON. Sir, turn your head. Leave visions to the like of Mr Shelley here. Remain in
the realm of the mundane, where you belong
t...1
BYSSHE's shadow now dominates the wall. MARY looks at it.[...]
MARY. Your shadow.
BYSSHE turns, looks at the wall.
CLAIRE. Turn round now, doctor, you'll
see a ghost!
POLIDORI jerks his head and looks atthe shadow. BYSSHE moves into a monstrous
shape.
a shadow that we made, upon the wall of our cave -- [...]
Stepped down? Walked toward us? Begged - for life? [...] And we gave it life. What
would it be?
MARY. What if - I...1. What if
Howard Brenton, Bloody Poetry. London: Methuen, 1985, S. 263-268.
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Thema Nr. 6
Jonathan Swift, "A Bcauiiful Young Nymph Going io Bed"
Corinna, Pride of Drury-Lane,
For whgm no Shepherd sighs in vain;
Never did Covent Garden boast
So bright a batter'd, strolling Toast;
No drunken Rake to pick her up,
No Cellar where on Tick to sup;
Returning at the Midnight Hour;
Four Stories climbing to her Bow'r;
Then, seated on a three-legg'd Chair,
Takes off her artificial Hair:
Now, picking out a Crystal Eye,
She wipes it clean, and lays it by.
Her Eye-Brows from a Mouse's Hide,
Stuck on with Art on either Side,
Pulls off with Care, and first disolays 'em,
Then in a Play-Book smoothly lays'em,
Now dextrously her Plumpers draws,
That serve to fill her hollow Jaws,
Untwists a Wire; and from her Gums
A Set of Teeth completely comes.
Pulls out the Rags conhiv'd to prop
Her flabby Dugs and down they drop,
Proceeding on, the lovely Goddess
Unlaces next her Steel-Rib'd Bodice;
Which by the Operator's Skill,
Press down the Lumps, the Hollows fill,
Up goes her Hand, and off she slips
The Bolsters that supply her Hips,
With gentlest Touch, she next explores
Her Shankers, lssues, running Sores,
Effects of many a sad Disaster;
And then to each applies a Plaster,
But must, before she goes to Bed,
Rub off the Daubs of White and Red;
And smooth the Furrows in her Front,
With greasy Paper stuck upon't.
She takes a Bolus e'er she sleeps;
And then between two Blankets creeps,
With pains of love tormented lies;
0r if she chance to close her Eyes,
Of Bridewell and the Compter dreams,
And feels the Lash, and faintly screams;
Or, by a faithless Bully drawn,
Drury Lane = skeet in the dishict of Covent garden; in
the lBth century notorious for prostitutes
Toast = so, in whose honour one is requested to drink
on tick = on credit
bower = secluded place, esp. in a garden ; inner room
hide = animal skin
plumpers = cofton balls that were put in one's mouth to
conceal hollow cheeks
dugs = udders, breasts, tits, esp. of an animal
bolster = pad, cushion, pillow
shanker = ulcer, usu. from venereal disease
daub = smear of paint
front = here: forehead
bolus = medicine, in the form of a big, soft pill
Bridewell = a woman's prison; Compter = a prison
conholled by sheriffs
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At some Hedge-Tavern lies in Pawn;
0r to Jamaica seems transported, transported = either being sent as a convict, or dreaming
of Jamaica
Alone, and by no Planter
Or, near Fieei-Diich's oozy
Fleet Ditch = another name ior the Fieet river in London,
which was a kind of open sewer
Surrounded with a Hundred
Belated, seems on watch to lie,
And snap some Cully passing
cully = a man deceived by others
courted;
Brinks,
Stinks,
by;
(52)
0r, shuck with Fear, her Fancy runs
0n Watchmen, Constables and Duns,
(53)
From whom she meets with frequent Rubs;
(54)
But, never from Religious Clubs;
Whose Favour she is sure to find,
Because she pays them all in Kind.
CORINNA wakes. A dreadful Sight!
Behold the Ruins of the Night!
A wicked Rat her Plaster stole,
Half eat, and dragged it to his Hole,
The Crystal Eye, alas, was miss'd;
And Puss had on her Plumpers piss'd.
A Pigeon pick'd her
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lssue-Peas;
Dun = a creditor
issue-peas = pieces of rolled-up ivy root put into wounds
shock = traditional name of a lapdog
And Shock her Tresses fill'd with Fleas.
The Nymph, tho'in this mangled Plight,
Must ev'ry Morn her Limbs unite.
But how shall I describe her Arts
To recollect the scatter'd Parts?
0r show the Anguish, Toil, and Pain,
0f gath'ring up herself again?
The bashful Muse will never bear
ln such a Scene to interfere.
Corinna in the Morning
dizen'd
Who sees, willspew;who smells, be poison'd.
dizen'd,
= dressed, decked out
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Einzelpnifungsnummer 62618
1.
Analysieren Sie die Form und den Argumentationsaufbau des Gedichts!
2
Swift untertitelte das Gedicht mit den Worten "Written for the honour of the fair sex".
,tnaiysieren Sie <iie Darsteilung der Frau unci des weiblichen Kdrpers im Gedichi im Biick auf
diesen Untertitel!
a
J
Welche literarische(n) Tradition(en) greift das Gedicht auf und wie geht es damit
um? Diskutieren Sie Swifts Position im Rahmen dieser Tradition(en) und erliiutem
Sie deren Stellenwert innerhalb der Literatur der ersten Hiilfte des 18. Jahrhunderts
am Beispiel mindestens eines weiteren Dichters Ihrer Wahl!
Thema Nr. 7
Moderne Dichtung und Geschichte
Er<irtern Sie Formen und Anliegen der Auseinandersetzung mit Vergangenheit an mindestens drei
Beispielen moderner Versdichtung des 20. Jahrhunderts! Gehen Sie dabei sowohl auf
literaturgeschichtliche wie auf politisch-, kultur- und sozialhistorische Beztige ein!
Thema Nr. 8
I. Text: Harriet Jacobs, Incidents in the Life of a Slave Girl (1861)
II. Aufgaben
1.
Analysieren Sie den Text im Hinblick auf das Selbstversttindnis der Erziihlerin und ihrer
Moralvorstellungen!
2.
Welche Aspekte des Textes sind charakteristisch fiir das Genre der,,slave narratives'o?
3.
Welche Funktionen erftillten,,slave narrativeso'im Kontext der Sklavereidebatte in den USA
vor dem Biirgerkrieg?
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THE TRIALS OF GIRLHOOD.
DURING the lust years of my service in Dr. Flint's. family, I was accustomed to share some indulgences with the children of my mistress. Though this seemed to me no more than right, I was grateful
for it, anci trieci to merit the kindness by the iaithfrri ciischarge of iiiy ,iuiies. But I no-w enteied on my
fifteenth year--a sad epoch in the life of a slave girl. My master began to whisper foul words in my ear.
Young as I was, I could not remain ignorant of their import, I tried to treat them with indifference or
contempt. The master's age, my extreme youth, and the fear that his conduct would be reported to my
grandmother, made him bear this treatment for many months. He ivas a craffy man, and resorted to
many means to accomplish his purposes. Sometimes he had stormy, terrific ways, that made his victims hemble; sometimes he assumed a gentleness that he thought must surely subdue. Of the two, I
preferred his stormy moods, although they left me trembling. He hied his utmost to corrupt the pure
principles my grandmother had instilled. He peopled my young mind with unclean images, such as
only a vile monster could think of. I turned from him with disgust and hatred. But he was my master. I
was compelled to live under the same roof with him--where I saw a man forly years my senior daily
violating the most sacred commandments of nature. He told me I was his property; that I must be subject to his will in all things. My soul revolted against the mean tyranny. But where could I tum for
protection? No matter whether the slave girl be as black as ebony or as fair as her mistress. In either
case, there is no shadow of law to protect her from insult, from violence, or even from death; all these
are inflicted by fiends who bear the shape of men. The mistress, who ought to protect the helpless
victim, has no other feelings towards her but those ofjealousy and rage. The degradation, the wrongs,
the vices, that grow out of slavery, are more than I can describe. They are greater than you would willingly believe. Surely, if you credited one half the truths that are told you conceming the helpless millions suffering in this cruel bondage, you at the north would not help to tighten the yoke' You surely
would refuse to do for the master, on your own soil, the mean and cruel work which trained bloodhounds and the lowest class of whites do for him at the south.
Every where the years bring to all enough of sin and sorrow; but in slavery the very dawn of.life is
darkened by these shadows. Even the little child, who is accustomed to wait on her mistress and her
children, will learn, before she is twelve years old, why it is that her mistress hates such and such a
one among the slaves. Perhaps the child's own mother is among those hated ones. She listens to violent
outbreaks of jealous passion, and cannot help understanding what is the cause. She will become prematurely knowing in evil things. Soon she will learn to hemble when she hears her master's footfall.
She
will
be compelle
dto realize that she is no longer
a child.
If God has bestowed
beauty upon her,
it
will prove her greatest curse. That which commands admiration in the white woman only hastens the
degradation of the female slave. I know that some are too muoh brutalized by slavery to feel the humiliation of their position; but many slaves feel it most acutelyo and shrink from the memory of it. I
cannot tell hbw much I suffered in the presence of these wrongs, nor how I am still pained by the
reffospect. My master met me at every turn, reminding me that I belonged to him, and swearing by
heaven and earth that he would compel me to submit to him. If I went out for a breath of fresh air,
after a day of unwearied toil, his footsteps dogged me. If I knelt by my motheris grave, his dark
shadow fell on me even there. The light heart which nature had given me became heavy with sad forebodings. The other slaves in my master's house noticed the change. Many of them pitied me; but none
dared to ask the cause. They had no need to inquire, They knew too well the guilty practices under that
roof, and they were awate that to speak of them was an offence that never went unpunished.
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I would have given the world to have laid my head on my grandr,t
r-rr r-^- ^ir lilJ a^--Lt^^
Er,,+T} Elinf crrrnrA he wnrrld kill me ifIwns
--, Lruuurer' D||v u" r uu! r"vrv
motners lalmrul Dosomr allu turu llt,r alr
as
nst as silent as the grave. Then, although my grandmother was all in all to me, I feared her as well
I
was
very
loved her. I had been accustomed to look up to her with a respect bordering upon awe.
young, and felt shamefaced about telling her such impure things, especially as I knew her to be very
I
longed for some one to confide in.
quiet in her
strict on such subjects. Moreover, she was a woman of a high spirit. She was usually very
been told that
demeanor; but if her indignation was once roused, it was not very easily quelled' I had
her daughters. I
she once chased a white gentleman with a loaded pistol, because he insulted one of
But though I
me
silent'
dreaded the consequences of a violent outbreak; and both pride and fear kept
presdid not confide in my grandmother, and even evaded her vigilant watchfulness and inquiry, her
Flint was
ence in the neighborhood was some protection to me. Though she had been a slave, Dr.
afraid of her. He dreaded her scorching rebukes. Moreover, she was known and patronized by many
people; and he did not wish to have his villany made public. It was lucky for me that I did not live on a
distant plantation, but in a town not so large that the inhabitants were ignorant of each other's affairs.
as are the laws and customs in a slaveholding community, the doctor, as a professional man,
Bad
deemed it prudent to keep up some outward show of decency.
O, what days and nights of fear and sorrow that man caused me! Reader, it is not to awaken sympathy
for myself that I am telling you truthfully what I suffered in slavery. I do it to kindle a flame of compassion in your hearts for my sisters who are still in bondage, suffering as I once suffered.
HaTTiet Jacobs,
INCIDENTS IN TT{E LIFE OF A SLAVE GIRL. WRITTEf{ BY }IERSELF
(BOStON
I 861).
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Thema Nr. 9
In den Jahrzehnten nach dem amerikanischen Btrgerkrieg (i86i - 1865) durchiiefen die USa eine
Phase radikalen sozialen, rjkonomischen, aber auch kulturellen Wandels. Sie entwickelten sich von
einer dominant agrarischen Gesellschaft hin zu einer von Industrialisierung und Urbanisierung
gepriigten Gesellschaft. In der amerikanischen Erztihlliteratur wurde diese Entwicklung von der
Hinwendun g ztxfl Realismus begleitet.
1
Definieren Sie den Begriff ,,Realismus"! Welche wichtigen wissenschaftlichen und/oder
philosophischen Entwicklungen beeinflussten die Entstehung des Realismus?
2
Erdrtern Sie die spezifisch amerikanischen Auspriigungen dieser literarischen Strcimung, indem
Sie den knappen Vergleich zu europiiischen Spielarten realistischen Schreibens ziehen!
J
Diskutieren Sie zwei bis drei Romane oder auch Kurzgeschichten, die mit Blick auf ihre
sprachlich-formale Gestaltung als auch mit Blick auf ihren Stoff als ,,realistisch" bezeichnet
werden kOnnen!
Thema Nr. L0
Diskutieren Sie mit Bezug auf mindestens vier Prosawerke die Repriisentation von Ethnizitat in der
amerikanischen Literatur der zweiten Hiilfte des 20. Jahrhunderts! Gehen Sie dabei auf die folgenden
Punkte ein:
a)
Wie beeinflusst Ethnizitiit die Erziihlmuster, sprachlichen, stilistischen und rhetorischen Mittel?
b)
Welche typischen Problemkonstellationen, Konflikte und Konfliktldsungen gehen mit dem
Topos der Ethnizittit einher?
c)
Welche Wechselwirkungen bestehen zwischen der literarischen Reprtisentation von Ethnizitat
und der kulturtheoretischen Diskussion tiber Multikulturalitat?
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Thema Nr. 11
Ralph Waldo Emerson, "The Apoiogy"
Think me not unkind and rude,
That I walk alone in grove and glen;
I go to the god of the wood
To fetch his word to men.
Tax not my sloth that I
Fold my arms beside the brook;
Each cloud that floated in the skY
Writes a letter in my book.
Chide me not, laborious band,
For the idle flowers I brought;
Every aster in my hand
Goes home loaded with a thought.
There was never mysterY,
But'tis figured in the flowers,
Was never secret history,
But birds tell it in the bowers.
One harvest from thy field
Homeward brought the oxen strong;
A second crop thine acres Yield,
Which I gather in a song.
Emily Dickinson, "To Make a Prairie it Takes a clover and one Bee" (1896)
To make a prairie it takes a clover and one bee,
One clover, and a bee,
And revery.
The revery alone will do,
If bees are few.
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Marianne Moorer ttPoetry"
il
l'r
)1
rl
:.
Seite 18
I
, i^-t
:-----^-r^--L
L^-,^.^l
')
-,-^ll
IIIIPUItiilrt uvyurlLr 4rr
ulat al.g
Inere ale- nrngs
l, [oo, olsllKe lt:
this fiddle.
Reading it, however, with a perfect contempt for it, one
discovers in
it after all, a place for the genuine.
Hands that can grasp, eyes
that can dilate, hair that can rise
if it must, these things are important not because a
high-sounding interpretation can be put upon them but because
they are
useful. When they become so derivative as to become
unintelligible,
the same thing may be said for all of us, that we
do not admire what
we cannot understand: the bat
holding on upside down or in quest of something to
eat, elephants pushing, a
wild horse taking a roll,
a tireless
wolf
under
immovable critic twitching his skin like a horse
that feels aflea, the baseball fan, the statistician-nor is it valid
to discriminate against "business documents and
a tree, the
school-books"2; all these phenomena are important. One must
make a distinction
however: when dragged into prominence by half poets, the
result is not poetry,
nor till the poets among us can be
"literalists of
the imagination"3--above
insolence and triviality and can present
I
The above version follows the text and format of Selected Poems (1935).
t "Diary of Tolstoy (Dutton), p. 84. 'Where the boundary between prose and poetry lies, I shall never be able to
undersiand. The question is raised in manuals of style, yet the answer to it lies beyond me. Poetry is verse; prose
is not verse. Or else poetry is everything with the exception of business documents and school books' " [Moore's
notel.
ldeas of Good and Evil (A. H. Bullen), p. 182. 'The limitation of his view was from the very intensiry
his vision; he was a too literal realist of imagination, as others are of nature; and because he believed that the
figures seen by the mind'd eye , when exalted by inspiration, were "eternal existences," symbols of divine
errrn""t, he hated every grace of sfyle that might obscure their lineaments' " [Moore's note],
3
"ylat's
of
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for inspection, "imaginary gardens with real toads in them", shall
we have
it. In the meantime, if you demand on the one hand,
the raw material of poetry in
all its rawness and
that which is on the other hand
genuine, you are interested in poetry.
Quellen: Emerson, Ralph Waldo. "The Apology": Eliot, Charles W. Englkh Poetry From Tennyson b lVhitman.
Whitefish: Kessinger Publishing, 2004. 1293. Dickinson, Emily. "To Make a Prairie": McMichael, George.
Anthotogt of American Literature.6h ed. Vol I. Upper Saddle River:.Prentice-Hall, 1997 '2164. Moore,
Marianne. "Poetry": The Norton Anthologt of American Literature.4tn ed. Vol Il. Ed. Nina Baym, et al' New
York: Norlon, 1994. 1247.
Worterkliirungenz clover: low-growing plant with leaves of three or four leaflets; grovei small wood, orchard;
g/en: secluded valley; bower'. a place enclosed by overhanging boughs, arbor.
Aufgaben
1.
Interpretieren Sie die Gedichte im Hinblick auf Formgebung, Inhalt und historische Kontexte!
2.
Arbeiten Sie die poetologischen Gehalte der Gedichte heraus!
Setzen Sie diese poetologischen Gehalte der Gedichte mit dem Ubergang von romantischen
und modernen Dichtungsauffassungen in Beziehung und ziehen Sie zu dieser Betrachtung
weitere Gedichte heran!
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Einzelprtifu ngsnumme r 62618
Seite 20
Thema Nr. 12
Diskutieren Sie das Zusammenspiel von U.S.-amerikanischer Populiirkultur und U.S.-amerikanischem
Drama und Theater seit den i960er Jahren!
Thema Nr. 13
In der Diskussion um die Probleme eines auf Anerkennung von Differenzen gesttitzten
Multikulturalismus kommt der,,cultivation of individuality" (K.A. Appiah) versttirkte
Aufmerksamkeitzu. So kcinnen pers0nliche Identittitskonstruktionen mit kulturellen
seratenrrnd eine arrf Anerkennuns vnn kultureller Differenz
Grunoenidentitriten in Konflikt bvr
!]lvrr,
ausgerichtete Identitiitspolitik kann zu Auseinandersetzungen, Zwangund der Missachtung von
Individualrechten eines Biirgers/einer Biirgerin fiihren. Ein Beispiel hierfiir wiire die Diskussion um
die Rechte moslemischer Frauen in den siikularen Gesellschaften des Westens.
Diskutieren Sie anhand geeigneter literarischer Beispiele den spezifischen Beitrag der
Migrationsliteratur zu diesen letztlich politischen und philosophischen Fragen, denen sich unsere
Gesellschaften stellen miissen! Welche Konflikte, Begriindungen und Lrisungsmdglichkeiten werden
in der Migrationsliteratur zu diesem Problem aufgezeig!?
: