Friihjahr - Phil.

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Einzelpriifung: Wissenschaftl.Klausur'Literaturw.
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Thema Nr.
L
Er<irtern Sie die Relation von,,allegorischem" und ,,realistischem" Schreiben im englischen Roman
des achtzehnten Jahrhunderts an mindestens drei Beispielen Ihrer Wahl!
_)
-
Seite 2
Einzelpriifungsnummer 62618
Frtihjah 2012
Thema Nr. 2
Morris, William.
News From Nowhere, or,
An Epoch of
Rest (1890)
Am Beginn des Romans kehrt der Erziihler, William Guest, von einer Veranstaltung der
Snnialic.t
vvvr4rrsc
T
eamre
sv*bsv
nach Harrse zuriick-
frllt in einen tiefen
Sehlaf und wacht in einer vdllig
veriinderten Welt auf:
Chapter 26: "The Obstinate Refusers"
[...]
So we Ieft the boat moored there, and went on up the slow slope of the
hill; but I said to
Dick on the way, being somewhat mystified: "What was all that laughing about? what was the
joke!"
a piece of work which
at aIl, because there
matter
which
doesn't
interesis them, and they won't go to the haymaking,
are plenty of people to do such easy-hard work as that; only, since haymaking is a regular
festival, the neighbours find it amusing to jeer good-humouredly at them.o'
"I can guess pretty well,"
r.' i
'"
said
Dick; "some of them up there have got
see," said I, "much as if in Dickens's ti{ne some young people were so wrapped up in their
work that they wouldn't keep Christmas."
"I
40
o'Just
so," said Dick, "only these people need not be young either."
"But what did you mean by easy-hard work?" said I.
45
2O
ZS
and sends
Quoth Dick: "Did I say that? I mean work that tries the muscles and hardens them
ytu pleasantly weary to bed, but which isn't trying in other ways: doesn't harass you in short.
Such work is-always pleasant if you don't overdo it. Only, mind you, good mowing requires
some little skill. I'm a pretty good mower."
This talk brought us up to the house that was a-building, not a large one, which stood at the
end of a beautiful orchard surrounded by an old stone wall. "O yes, I see," said Dick; "I
remember, a beautiful place for a house: but a starveling of a nineteenth century house stood
there: I am glad they are rebuilding: it's all stone, too, though it need not have been in this
part of the country: my word, though, they are making a neat job of it: but I wouldn't have
made it all ashlar la prepared or "dressed" stone usedfor masonryl."
Walter and Clara were already talking to a tall man clad in his mason's blouse, who looked
about forty, but was I daresay older, who had his mallet and chisel in hand; there were at work
in the shed and on the scaffold about half a dozen men and two women, blouse-clad like the
carles, while a very pretty woman who was not in the work but was dressed in an elegant suit
of blue linen came sluntering up to us with her knitting in her hand. She welcomed us and
said, smiling: "So you are come up from the water to see the Obstinate Refusers: where are
you going haymaking, neighbours?"
..O,
Qa
LrLl
right up above Oxford,o' said Dick; "it is rather
a late
country. But what share have you
nnr.'riflr
+Lo
Pofircarc nnetfv
neiohhnttr?"
Yvrlrr
ullv lwauuvre'
yL-"J
5vL
Said she, with a laugh: "O, I am the lucky one who doesn't want to work; though sometimes I
get it, foi I serve as model to Mistress Philippa there when she wants one: she is our head
carver; come and see her."
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Seite 3
woman was working
She led us up to the door of the unfinished house, where a rather little
was doing'
with mailet and chisel on the wall near by. She seemed very intent on what- she
who
seemed'
girl she
and did not hrrn round when we came up; but a taller *o-ur1 quite a
was at work near by, had already knocked off, and was standing looking from Ciara to Dick
with delighted eyes. None of the others paid much heed to us.
35
The blue-clad girl laid her hand on the carver's shoulder and said: "Now Philippa, if you
gobble,rp youi*ork like that, you will soon have none to do; and what will become of you
then?"
tn
The carver turned round hurriedly and showed us the face of a woman of forty (or so she
seemed), and said rather pettishly, but in a sweet voice:
,.Don't talk nonsense, Kate, and don't intemrpt me if you can help it." She stopped short
when she saw us, then went on with the kind smile of welcome which never failed us. "Thank
you for coming to see us, neighbours; but I am sure that you won't think me unkind if I go on
with my work, especially whin I tell you that I was ill and unable to do anything all through
April and May; and this-open-air and the sun and the work together, and my feeling well
uguitt too, make a mere aelight of every hour to me; and excuse me, I must go on'"
+5
Text: William Morris, Newsfrom Nowhere, or, An Epoch of Rest: Being Some Chaptersfrom
a (Jtopian Romance,London: Longmans, Green & Co., 1908: 202'204.
1.
Analysieren Sie die gewiihlte Erziihlperspektive!
2.
Welchen Eindruck vermittelt der Erziihler vom Umgang der Figuren miteinander? Gehen Sie
dabei auch auf den Titel des Kapitels ein!
J
Wie wird das Verhiiltnis der Figuren zu ihrer Lebenswelt modelliert? Benicksichtigen Sie dabei
auch das Konzept vonworkl
4
Ordnen Sie den Text sowohl in den gattungstypologischen als auch sozialgeschichtlichen
Kontext der Entstehungszeit ein!
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Frtihiahr 2012
Einzelpriifungsnummer 62618
Seite 4
Thema Nr. 3
I. Text:
Virginia Wolf, ,,Mrs Dalloway in Bond Street" (Auszug)
.r
4o
4,
She mounted the iittle hill lightly. The air stirred with energy'
Messages were passing from the Fleet to the Admiralty. Piccadilly and
Arlington Streei and rhe Mall seemed to chafe the very air in the Park
and lift its leaves hotly, brilliantly, upon waves of that divine vitaiiry
which Clarissa loved. To ride; to dance; she had adored all that' Or
going long walks in the country, talking, about books, what to do with
on.'i lift, for young people were amazingly priggish - oh, the things
one had saidl But one had conviction. Middle age is the devil. People
like Jack'll never know that, she thought; for he never once thought of
death, neve.r, they said, knew he was dying. And now can never mourn
of the
- hovv did it go? - a head grown grey. . . From the contagion
before'2
rwo
or
a
round
cup
world's slow itain' . . . have drunk their
... From the contagion of the world's slow srain! She held herself
Lrpright.
-But
how Jack would have shouted! Quoting Shelley, in Piccadilly!
'You u,ant a pin,' he would have said. He hated frumps. 'My God
Clarissa! My God Clarissa!'- she could hear him now at the
Devonshire House party, about poor Sylvia Hunt in her amber
necklace and that dowdy old silk. Clarissa held herself upright for she
had spoken aioud and now she was in Piccadilly, passing the house
2-D
with the slender green columns, and the balconies; passing club
wildows full of newspapers; passing old Lady Burdett-coutts' house
where the glazed white parrot used to hang; and Devonshire House,
without its gilt leopards; and Claridge's, where she must remember
2{ Dick wanted her to leave a card on Mrs Jepson or she would be gone'
Rich Americans can be very charming. There was st James's Palace;
iike a child's game with bricks; and now - she had passed Bond street she was by Hatchard's book shop. The srream was endless - endless endless. Lords, Ascot, Huriingham - what was it? What a duck, she
3 O thought, Iooking at the frontispiece of some book of rnemoirs spread
wide in the bow window, Sir Joshua perhaps or Romney; arch, bright,
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lri
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5
demure; the sort of girl - like her own Elizabeth - the only real sort of.
girl. And there was that absurd book, Soapey Sponge,3 which Jim used to
quote by the yard; and Shakespeare's Sonners. She knew them by heart.
Phil and she had argued all day about the Dark Lady, and Dick had said
straight out ar dinner that night that he had never heard of her. Really,
she had married him for thatl He had never read shakespeare! There
must be some little cheap book she could buy for Milly Cranfordt of
course! Was there ever anything so enchanting as the cow in petticoats?
If only people had that sort of humour, that sort of self-respecr now,
thought Clarissa, for she remembered the broad pages; rhe sentences
ending; the characters - how one ralked about them as if they were
real. For all the great things one musr go to the past, she rhoughr. From
the contagion of dte world's slow stain . . . Fear no more the heat o' the
sun.i . . . And now can never mourn, can never mourn, she repeated,
her eyes straying over the window; for it ran in her head; the test of
great poetry; the moderns had never written anything one wanted to
read about death, she thought; and turned
Anmerkunee';
"Mrs Dalloway in Bond Street" was written in1922'
1. From e.B. Sheiley's "Adonais: An Elegy on the Death of John Keats" (l-821)
2. From Edward Fitzgerald's The Rubdiydt of .Omar Khayydm (1859), a translation of Persian poetry
3. Nick-name of the hero in R.S. Surtees's novel Mr Sponge's Sponing Tour (1853)
4. Title of a novel by Elizabeth Gaskell (publ. 1853)
5, From a song in William Shakespeare's Cymbeline (c. 1611)
1,7: priggish
l.
L9:
- moralizing, upholding
moralstandards and disapproving of others on moralgrounds
dowdy- dull and unfashionable
l.29: duck - term of endearment
l.3t orch - clever, cunning, pleasantly mischievous
Quelle:Virginia Wooll The Complete Shorter Fiction, ed. Susan Dick (London: Triad, i.989)
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Seite 6
II. Aufgaben:
Bearbeiten Sie allq foigenden Aufgaben:
1.
Analysieren Sie die Erztihlsituation und den Erziihlstil des Ausschnitts!
2.
Diskutieren Sie die Funktion des Erziihlstils in Bezug auf die Darstellung der ,Innenwelt'
literarischer Figuren (hier am Beispiel Mrs Dalloways)!
3.
Situieren Sie den Text literaturgeschichtlich und machen Sie deutlich, welche Elemente des
Textes als typisch fiir die identifizierte Epoche gelten!
Thema Nr.4
William
DUKE
Shakespea r e, Tw e lfth Nig ht, 2.4.7
ORSINO
5
-
I 19
Once more, Cesario,
75
Get thee to yond same sovereign cruelty.
Tell her, my love, more noble than the world,
Prizes not quantity of dirty lands;
The parts that fortune hath bestow'd upon her,
80
Tell her I hold as giddily as fortune;
But 'tis that miracle and queen of gems
That nature pranks her in attracts my soul.
VIOLA But if
she cannot love you, sir?
DUKE ORSINO I cannot be so answered.
VIOLA
Sooth, but You must.
Say that some lady, as perhaps there is,
85
Hath for your love a great a pang of heart
As you have for Olivia. You carurot love her.
You tell her so. Must she not then be answer'd?
DLTKE ORSINO There is no woman's sides
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Einzelpriifungsnwnmer 62618
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Can bide the beating of so strong a
passion
90
As love doth give my heart; no woman's heart
So big, to hold so much. They lack retention.
Alas, their love may be called appetite,
No motion of the liver, but the palate,
That suffer surfeit, cloyment, and
revolt,
95
But mine is all as hungry as the sea,
And can digest as much. Make no compare
Between that love a woman can bear me,
And that I owe Olivia.
VIOLA
Ay, but I know
DUKE ORSINO What dost thou
-
know?
100
VIOLA Too well what love women to men may owe.
In faith, they are as true of heart as we.
My father had
a daughter loved a man
As it might be perhaps, were I a woman,
I should your lordship.
DUKE
ORSINO
And what's her
VIOLA A blank, my lord.
history?
105
She never told her love,
But let concealment like a woiln i'the bud
Feed on her damask cheek. She pined in thought,
And with a green and yellow melancholy
She sat like patience on a
monument,
110
Smiling at grief. Was not this love indeed?
We men may say more, swear more, but indeed
Our shows are more than will: for still we prove
Much in our vows, but little in our
love.
115
DUKE ORSINO But died thy sister of her love, my boy?
VIOLA I
am all the daughters of my father's house,
And all the brothers, too
-
and yet I know not.
Sir, shall I to this lady?
William Shakespeare, Twelfth Night, Elizabeth Story Donno (ed.), Cambridge: Cambridge University
Press, 2000.
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Einzelprtifungsnummer 62 618
Seite 8
Zum Inhalt:
Die schiffbriichige Viola, verkleidet als Jtingling Caesario, hat sich in ihren Dienstherrn, den Herzog
Orsino verliebt. Dieser wirbt um die unnahbare Olivia, die von seinen Avancen nichts wissen will, sich
stattdessen aber in den Uberbringer von Orsinos Liebesbotschaften verliebt hat, Caesario.
Aufgaben:
L
Interpretieren Sie den Text! Gehen Sie dabei auf sprachliche Form, Dialogftihrung und
Personencharakterisierung ein !
2
Welche konventionellen Vorstellungen von Eigenart und Unterschieden der Geschlechter greift
der Text auf und wie geht er mit ihnen um?
a
-1
Ercirtern Sie Formen und Funktionen des cross-dressinginweiteren Dramen Shakespeares!
Gehen Sie dabei auf relevante gesellschaftlich-kulturelle Kontexte ein!
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Friihjahr 2012
Seite 9
Thema Nr.5
Analysieren Sie beiliegenden Textausschnitt auf seine sprachlich-rhetorischen und seine dramatischentheatralen Darstellungsmittel hin! Erliiutern Sie die Perspektiven, die der vorliegende Dialog auf
unterschiedliche Themenbereiche eroffnet! Ordnen Sie den Text anhand Ihrer Ergebnisse in Ihnen
bekannte Entwicklungstendenzen des modernen englischen Dramas (seit etwa 1950) ein!
5
curu: What will you play?
piaven: "The Murder of Gohzago".
curt,: Full of fine cadence.and corpses
pLlvER: Pirated from the Italian.. ..
nos: What is it about?
previn: It's about a King and Queen...
cuu Escapism! What else?
.
Blood
culr.: --Love and rhetoric.
praven: Yes. (Going.)
curr,: Where are you going?
FLAYER: I can come and go as I please.
curt,: You're evidently a man who knows his way around.
PI-AYER:
40
PLAYER:
I've been here before.
15 cuu: We're still finding our
pLAyER:
I should concentrate
PLAYER:
Precedent.
feet.
on not losing your heads.
cuu.: Do you speak from knowledge?
2s
cuIL: You've been here before.
pLAyER: And I know which way the wind is blowing.
cun: Operating on two levels, are we?! How clever! I
expect it comes naturally to you, being irt the business
to speak.
(T&e rmxrn's grave face does not change. He makei to
move off again. cuw for the second time cuts him off.)
The*'truth is, we value your company, for want of any
other. We have been left so much to our own
"" so
2s
30
'
devices-after a while one welcomes. the uncertainty
of being left to other people's.
pLAyER: Uncertainty is the normal state. You're nobody
special.
(He makes to leave again, evl- loses his cool.)
culr,: But for God's sake what are we supposed to dol
!
Relax. Rispond. That's what people do. you can't
go through life questioning your'situation at every
TLAvER:
3s
l$
45
turn.
curI,: But we don't know what's going on, or what to do
with ourselves. We don't know how to act.
pLAyER: Act natural. You know-wliy you're here at least.
curr,: We only know what we'ie told, and that's little
enough. And for all we know it isn't even true.
prAyER: For all anyone knows, nothing is. Everything has
to be taken on trus[ truth is only that which is iaken
to be true. It's the currency of living. There may be
nothing behind it, but it doesn't make any diffeience
-^
ov l^-^
L^-^---^J
n-^
,
--1-^-:.:^rr rD lturlvulgu.
rv[E sD
\,rtrg duts
ull
assumptlons.
What do you assume?
Tom Stoppard, Rosencrantz and Guildenstern Are Dead, London: Faber and Faber, 1967,48 - 49
-10-
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Einzelpri.ifungsnumme
r 62618
Seite 10
Thema Nr.6
Diskutieren Sie die Behandlung unterschiedlicher religioser und weltlicher Themenbereiche bei drei
Autoren Ihrer Wahl, die der sogenannten Metaphysical Poetry zugerechnet werden! Treffen Sie die
Wahl so, dass Autoren besprochen werden, die Gedichte aus beiden Bereichen geschrieben haben und
soiche, ciie sich im Wesentlichen auf einen Bereich fesigeiegt liaben! Wie lassen sich rcligiose und
weltliche Literatur aufeinander beziehen? Was liisst sich daraus iiber die Bedeutung der Religion in der
Gesellschaft zeigen, und inwiefern befreit sich weltliche Lyrik von religiosen Wertevorstellungen?
Thema Nr. 7
Analysieren und interpretieren Sie das beigefiigte Gedicht mit dem Titel ,,Musde des Beaux Arts", das
W. H. Auden (1907 - 1973) im Jahr 1940 ver<iffentlichte!
1.
Beschreiben und erliiutern Sie zuniichst, welche sprachlichen Mittel auf den Ebenen von
Metrik, Reim oder Rhetorik zum Einsatz kommen und welche Funktion ihnen in diesem Text
zukommt!
2
Wie schon im Titel signalisiert, bezieht die zweite Strophe sich auf ein konkretes Gemiilde,
Pieter Bruegel d. A.
,,Landschaft mit dem Sturz des lkarus" des fliimischen Renaissancemalers
beigeftigt finden):
Reproduktion
(das der Autor 1938 in Briissel sah und das Sie in verkleinerter
welche Rolle spielen dieses Bild und sein Sujet fiir das Gedicht und wie gestaltet sich die
visuelle-textuelle Beziehung?
a
J
Ilterpretieren Sie auf dieser Grundlage den Text und seine Programmatik im Kontext der
en gli sch-amerikani schen Literaturbewe gung der | 93 0 I 40 er Jahre !
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Seite i
62618
1
About suffering they were never wrong,
The Old Masters: how well they understood
Its human position; how it takes place
t
While someone else is eating or opening a window or just walking dully along;
How, when the aged are reverently, passionately waiting
the miraculous birth, there always must be
Children who did not specially want it to happen, skating
On a pond at the edge of the wood:
They never forgot
That even the dreadful martyrdom must run its course
For
AO
Anyhow in a corner, some untidY sPot
where the dogs go on with their doggy life and the torturer's horse
Scratches its innocent behind on a tree.
4(
In Brueghel's lcarus for instance: how everything turns away
Quite leisurely from the disaster; the ploughman may
Have heard the splash, the forsaken cry,
But for him it was not an important failure; the sun shone
As it had to on the white legs disappearing into the green
]f
Water; and the expensive delicate ship that must have seen
Something amazing, a boy falling out of the sky,
Had somewhere to get to and sailed calmly on.
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Seite 12
-13-
Frnhjatu 2012
Einzelprtifu ngsnunme r 62618
Seite 13
Thema Nr. 8
Diskutieren Sie die Auspriigungen und Funktionen der amerikanischen gothic fiction! Gehen Sie dabei
auf drei Aspekte ein!
rm amerikanischen Kontext eingefiihrt und adaptiert
a)
Erliiutern Sie, wie die gothic
wurde!
b)
Diskutieren Sie giingige stilistische, sprachliche und narrative Elemente!
c)
ZeigenSie an drei Beispielen, wie das Unheimliche literarisch entfaltet wurde und welche
Funktion es erfiillen sollte!
fiction
Thema Nr. 9
Text:
Henry James, "The Beast in the Jungle" (1903, 1909), The Norton Anthology of American Literature:
Sixth Edition,Yollme C, New York/London; Norton,2003,524 - 525.
1
2
3
Bestimmen und erltiutern Sie so detailliert wie moglich die Erziihlsituation dieses Textauszugs
nach Franz K. Stanzel oder nach G6rard Genette!
Bestimmen und erliiutern Sie die wesentlichen Mittel der Figurenzeichnung!
Zeic5nensie so exakt wie moglich die verschiedenen Zeitebenen in diesem Textauszug nach
und erl2iutern Sie ihr Verhiiltnis zueinander!
4
Am Ende der Erziihlung wird John Marcher von der Erkenntnis ,angesprungen' (dem wilden
Tier im Dschungel), dass es sein Schicksal war, der Mann zu sein, dem nichts Beeindruckendes
widerfahren sollte - so steht er da, ,,gazing at [...] the sounded void of his life'" Versuchen Sie,
Henry James' Stil in dieser Passage in Zusammenhang zu bringen mit dieser Einsicht des
Protagonisten und mit dem sozialen Milieu, das hier entworfen wird!
5
Inwiefem liisst sich dieser Erziihltext als modernistisch bezeichnen?
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Seite 14
The Beast in the Jungie:
,I
of their
lVhat deter'mined the speech that sfartled him in the course
him-
-uii.t, being probably,but
il'"y
self quite withouc it-,;;;;;tp"ol""
"'
encounter scarcely
.5
of rT'honr he was one, and thanks to whom
^orrrr nf vicitnrs at the nthe, horrre,
",, *"r"rrrl ,i;;;,
rhat he rvas losr in the crowd,. had been invited
;;
"lruayr,
fn.r" it"a been after luncheon much disp,e-rsal'-all in the
over to luncheon.
interest of the origlrr"i
A0
some words spoken bv
lilse.red and slorvlv mo'ed
conveyed by
iog"tir*, after their renewal of acquainta"t"' FI" had been
staying; fhe
was
she
which
at
house
to
tlie
lriends an hour or trvo before
-otiut,
a vieq' of lVeatherend itself and the fine
treasures of all the arts' that
it"i"ri" f"Itrrr"r, fi.t,""t,.tt"irlooms,
f.*ou', and the great rooms were so numerous that
pf"""
"lrrrort
principal group and in
"r"a?ift"
suests coulcl wande. u, tft"it #fl. hang b"ack from the
matters wi"rh rhe lasr seriousness give rhemselves
:;;;;;;'rh;;;;;[r";h
There were persons to
tf,i"gr,
up to mysterious appreciations ancl measurements'
,ittgly^oiin couples, Sending toward objects in out-of-the-way
l!
nodding quite as
"frr"ir"a,
;;.;;.; u.ith rhe"ir hands on rheir knees and cheir headsthey
^(
rvere two thev
Wben
smell'
of
sense
;j;i;;" "*phuri, of-"r, **"it*a
of even deeper
silences
into
melted
or
ecstasy
of
sounds
,h"i,
-ingt.d
it for Marcher
gave
"iii",
i*p"", ."iftat there *ur" "tp""" oi tht otcu'ion that
that
advertised,
highly
air of the "look rouncl," previous to a sale
Lo much the
of
drearn
The
of
acquisition'.
excites or quenches, ;t";;y ;;, t'h" dt""*
have had to be rvild indeed, and John
disco.ncerted almost
and by that of those
much
k"etitoo
tho'e"*'ho
of
equally b.v the pr*r".,."
to
;it; k;"; nothing. The great rooms caused so much Pietrya and history
relation
feel-in
to
Proper
Dress uDoll hirn that h" ,,J"dud some stra;,ing aPart
gloatin-g of
,iffi';'n.r*n'rfttt im'*lse wAs not, ^i.h"pp"tt"d, likeofihea dog
sniffing
movements
the
to
some of his compani;;;;t'-;" ;"mpared
not to
was
that
direction
a
in
enough
promptiy
issue
fi"a
"lq"ti,ir"'"iW"^ri-,.*"a'*o"ia
fularcher found hi,r'.*se( t-o"g such suggestions'
LS
fft
3o
3S
;;;;b;;.
qs
f,0
ss
6o
""
rneeting
u""flv, in the course of the october afternoon, ro his cl'ser
as
remembrance'
a
quite
rvithMay Bartrarn, ;;;" face, a reminder' y:t itt
troubling
merely.by
had
begun
they sat *r-,"h ,.pur rJJ "i "lty ft"g table'
"
som.ething of which
him rarher pt.ur"r,,fy."ii;ff.";;a i,ini ", the sequefof
quite welcomed i['
tire
time
for
i[,
and
l<nerv
He
he had lost the begiining'
JiL't kt'o- rvhat it continued' u'hich was an interest-" "orrtirruatio.r,lui
"s
oranamusementthegreaterashewasalsosomeho\,vaware-yetrvithouta
thread'
h"r-ihat the young \4'oman herself hadn't lost the some
ih" h"di,t lost ir, but Je ,uouldn't give it back ro him, he saw,butwithout
saw several
pr"irrg i..rh of itis hand for it; anl he not only saw that'
moment
ii*",lfg"
\0
L
been calculated.
have
^-rii"J,
f.o,.,.'
things odd enough in the light of the fact that at the
he was still merely
some acci,ent of g;;i"g-Uir"gfr, theri face to face
in rhe past wou.ld
i"-lri"g or.ith th"-iJeJih?, ..ry""_o.rtacr berween them
knew why
scarcely
he
have had ,ro i-po.t"n"e' If it n"a it"a no importance
;hi;;;"..,
much; the answer tci
his actual impression of her should so seem to have so
to be. leading for
appe-ared
all
they
as
life
which. however, *'".-tt"ru, i,, ,u.h a
satisfied' u'ith*^t
H"
came'
as-they
things
take
the mqment ot" .otiJ but
might roughly
youfrg-lady
this
that
wf,y,
say
to
out in the least b"i;;;i"
was not
that-she
poo, ."l"tiott; satisfied also
have ranked in the hi,rr"
"
".
establishmentthe
,h"r. on a brief visit, but was more or less a part of
a Protecul-or, a working, a remunerated part' Didn't she enjoy at Periods the
place
show
to
services'
other
;i"" ;; ,t " p"ia fo. by helping, among
the
about
questions
answer
people,
tiresome
;;J;;;i"i;lt, a""r with the
of
the picauthorship
L"il.lina
the
r-^^^
furniture,
thc
sf'les
of
the
^'c.r-^
w!,t4vv
lras
uI Lllg uslrurrri;i
ualcs
the ghost? It r.r,asn't that she looked as if you
rures, the favourite flaurrr,
"e
when
.o,rti n"rr" given her shillings-it-was imposs'ble to look less so' Yet
much
so
ever
though
;i; fl""ily f,rift"d to*nrd him, distinctly iandsome,
an
older-olier than when he had seen her before-it might have been as
more
hours'devoted
of
couple
the
within
effect of h"r g,r"..i.rg that he had,
peni*"gi.r"tio' io h*, ,li"r, to all the others put together' and had thereby
there
r'uas
;;;;?;J to a kind oft*th that the others-were ioo stupid for' She of things
on h^r.t"t terms than any one; she was there as a consequence
in the interval of years; and she remembered
suffered, one way
".rJ
"rrotntt,
hi* rr"rv much as she-'i.1'as-remembered-only a good deal better'
-15-
Fr;Jhjatu2012
Einzelpri.ifungsnumme r 62618
Seite 16
Thema Nr. 12
Im Vorwort seiner einflussreichen Untersuchung zum modemen'Drama, The Plalnuright as Thinker
(lg16,Neuauflagen bis 1976), schreibt der angesehene amerikanische Kritiker Eric Bentley:
1
r,lJ'-^t r1-^
l flnA
1O/n vvor q
o nraot
nf
' , i 1:
vr
^o.i^l
Srvq! ywrrvu
nave Dggn loollng ourservgs lnto DellgvurB- urilt trrtt -^.^i^l
PErruu LtLv - L-/av '.'^.
,,wg
'drama,particularly
of American drama. It was not. The period had important experiments and its
important achievernents; but the experiments are only notorious and the achievements still almost
unknown."
Nehmen Sie zu dieser Einschiitzung Stellung und beziehen Sie sich dabei auf mindestens drei konkrete
Dramen!
1.
Inwieweit zeichnen sich diese Dramen durch formale und stilistische Innovationen aus, die die
historische Entwicklung des amerikanischen Dramds beeinflusst haben?
2.
Inwieweit betreten diese Dramen inhaltlich Neuland und sind dadurch wegweisend in der
Entwicklung der amerikanischen Literaturgeschichte?
3.
Welche Merkmale weisen diese Dramen als modernistische Texte aus?
Thema Nr. 13
Im Jahr 19g3 erkldrte der Schriftsteller Salman Rushdie in einem Essay: ,,The English language ceased
to be the sole possession of the English some time ago." (Rushdie, Imaginary Homelands,199l,
S. 70). Diskutieren und bewerten Sie diese Aussage!
Beziehen Sie sich in der Diskussion auf mindestens drei literarische Beispieltexte, in denen die
englische Sprache von nicht-englischen Autorinnen oder Autoren gebraucht wird, und erliiutem Sie,
wi! deren spezifischer Sprachgebrauch sich darstellt, welchen Zielen er dient und welche Probleme
oder Konsequenzen sich daraus ergeben!