I{erbst - Phil.-Hist. Fakultät

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Priifungstermin
Einzelp
nummer
Kennzahl:
I{erbst
Kennwort:
62618
2A11
Arbeitsplatz-Nr.:
Erste Staatsprtifung ftir ein Lehramt an iiffentlichen Schulen
Priifungsaufgaben
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Fach:
Englisch (vertieft studiert)
Einzelpriifung: Wissenschaftl.Klausur-Literaturw.
Anzahl der gestellten Themen (Aufgaben): 13
Anzahl der Druckseiten dieser
Vorlage:
13
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Thema Nr.
l.)
I
Beschreiben Sie die Entwicklung der ,,Gothic Novel" seit dem 18. Jalrhundert und beriicksichtigen
Sie dabei thematische und stilistische Charakteristika, typische Handlungselemente, Figurenkons-
tellationen und Raumkonzepte!
2.) Kommentieren und erliiutem Sie das Spannungsfeld zwischen dem dargestellten Ubernatiirlichen,
Diimonischen und Exotischen einerseits sowie der letztlich oft konventionellen Moral der Romane
andererseits!
3.) Situieren Sie die Gattung im literatur- und kulturhistorischen Kontext,
insbesondere auch unter Berticksichtigung gesellschaftlicher und politischer Entwicklungen, und greifen Sie zur Beantwortung
auf mindestens drei Textbeispielen zuriick!
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Thema Nr. 2
i
':7
The two old washerwomen, who ire seated on the little bench to the left of the bar, are rather
overcome by the head-dresses and haughty demeanour of the young ladies who officiate. They receive
their half-quartern of gin and peppermint, with considerable deference, prefacing a request for'one of
them soft biscuits,'with a'Jist be good enough, ma'am.'They are quite astonished at the impudent air
of the young fellow in a brown coat and bright buttons, who, ushering in his two companions, and
walking up to the bar in as careless a manner as if he had been used to green and gold ornaments all his
life, winks at one of the young ladies with singular coolness, and calls for a'kervorten and a three-outglass,' just as if the place were his own. 'Gin for you, sir?' says the young lady when she has drawn it:
carefully looking every way but the right one, to show that the wink had no effect upon her, 'For me,
M*y, my dear,'replies the gentleman in brown. 'My name an't Mary as it happens,' says the yorurg
girl, rather relaxing as she delivers the change. 'Well, if it an't, it ought to be,'responds the irresistible
one; 'all the Marys as ever I see, was handsome gals.'Here the young lady, not precisely remembering
how blushes are managed in such cases, abruptly ends the flirtation by addressing the female in the
faded feathers who has just entersd, and who, after stating explicitly, to prevent any subsequent
misunderstanding, that'this gentleman poys,' calls for'a glass of port wine and a bit of sugar.'
Those two old men who came in'just to have a drain,'finished their third quartern a few seconds ago;
they have made themselves crying drunk; and the fat comfortable-looking elderly women, who had'a
glass of rum-srub'each, having chimed in with their complaints on the hardness of the times, one of
the women has agreed to stand a glass round, jocularly observing that'grief never mended no broken
bones, and as good people's wery scarce, what I says is, make the most on'em, and that's all about it!'a
sentiment which appears to afford unlimited satisfaction to those who have nothing to pay.
'ii
It is growing late, and the throng of men, women, and children, who have been constantly going in and
out, dwindles down to two or three occasional stragglers--co1d, wretched-looking creatures, in the last
stage of emaciation and disease. The knot of Irish labourers at the lower end of the place, who have
been alternately shaking hands with, and threatening the life of each other, for the last hour, become
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adjust the difference, they resort to the expedient of knocking him down and jumping on him
afterwards. The man in the fru cap, and the potboy rush out; a scene of riot and confusion ensues; half
the Irishmen get shut out, and the other half get shut in; the potboy is knocked among the tubs in no
time; the landlord hits everybody, and everybody hits the landlord; the barmaids scream; the police
come in; the rest is a confused mixture of arms, legs, staves, tom coats, shouting, and struggling. Some
of the party are borne off to the station-house, and the remainder slink home to beat their wives for
complaining, and kick the children for daring to be hungry.
We have sketched this subject very slightly, not only because our limits compel us to do so, but
because, if it were pursued farther, it would be painful and repulsive. Well-disposed gentlemen, and
charitable ladies, would alike turn with coldness and disgust from a description of the drunken besotted
men, and wretched broken-down miserable women, who form no inconsiderable portion of the
frequenters of these haunts; forgbtting, in the pleasant consciousness of their own rectitude, the poverty
of the one, and the temptation of the other. Gin-drinking is a great vice in England, but wretchedness
and dirt are a greater; and until you improve the homes of the poor, or persuade a half-famished wretch
not to seek relief in the temporary oblivion of his own misery, with the pittance which, divided among
his family, would furnish a morsel of bread for each, gin-shops will increase in number and splendour.
If Temperance Societies would suggest an antidote against hunger, filth, and foul air, or could establish
dispensaries for the gratuitous distribution of bottles of Lethe-water, gin-palaces would be numbered
among the things that were.
Charles Dickens. Sketches of Boz. London: Oxford UP, S. 385-187
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3
Charles Dickens beschreibt in Sketc-hes of Boz (1333-36) u. a. die Ginbars in Loirdon und das soziale
und menschliche Elend, dass dort zu finden war.
Welche Erztihlsituation findet sich in diesem Auszug aus Sketches of Boz und welche erztihltechnischen Mittel verwendet Dickens hier?
Was ist die Haltung des Erzdhlers zu Alkoholmissbrauch in seiner Zeit und welche Verbindung sieht
er zur sozialen Frage?
Diskutieren Sie den Beitrag der viktorianischen Romanliteratur nr zeitgenOssischen Auseinandersetzung mit der sozialen Frage! Gehen Sie darauf ein, ob dieser Beitrag sich auf die literarische Repriisentation der sozialen Frage beschriinkt oder inwiefern diese Erziihlliteratur auch die Funktion einer Intervention (i. S. des cultural materialism) in die Gesellschaft erftillen kann!
',Q
Thema Nr, 3
In Julian Barnes'Roman England, England (1998) hat sich der Unternehmer Sir Jack Pitman dem ehrgeizigen Projekt verschrieben, die Isle of Wight zu einem Themenpark fiir Touristen umzuformen, in
dem es alles typisch Britische auf tiberschaubarem Raum zu besichtigen gibt. Um das Projekt auch
wissenschaftlich zu begriinden, hat Sir Jack einen franz0sischen Intellektuellen als Berater eingekauft,
der dem Unternehmer und seinen Mitarbeitern folgenden Vortrag htilt:
e
The French intellectual was a slight, neat figure in an English tweed jacket half a size too big for
him; with it he wore a pale blue button-dqwn shirt of American cotton, an Italian tie of flamboyant
restraint, international charcoal wool trousers, and apair of tasselled French loafers. A round face
tanned by several generations of desk lamps; rimless glasses; receding hair cut close against the skull.
He canied no briefcase and no notes in the cupped palm. But with a few suave gestures he drew doves
from his sleeve and a line of flags from his mouth. Pascal led to $aussure via Laurence Sterne;
Rousseau to Baudrillard via Edgar Allen Poe, the Marquis de Sade, Jeny Lewiso Dexter Gordon,
Bernard Hinault and the early work of Anne Sylvestre;Levi-strauss led to Ldvi-Strauss.
'What is filndamental,'he announced, once the coloured scarves had floated to the ground and the
doves had perched, 'what is fundamental is to understand that your great Project - and we in France are
happl to salute the grands projects of others - is profoundly modern. We in our country have a certain
idea of Ie patrimoine, and you in your country have a certain idea of 'Eritage. We are not here talking
of such concepts, that is tosay we ars not making direct reference, although of course in our
intertextual world such reference, however ironic, is of course implicit and inevitable. I hope we all
understand that there is no such thing as a reference-frqe zone. But that is by the by, as you say.
'No, we are talking of something profoundly modern. It is well established - and indeed it has been
incontrovertibly proved by many of those I have earlier cited - that nowadays we prefer the replica to
the original. We prefer the reproduction of the work of art to the work of art itselt the perfect sound
and solitude of the compact disc to the symphony concert in the company of thousand victims of throat
complaints, the book on tape to the book on the lap. If you are to visit the Bayeux Tapestry in my
country, you will find that in order to reach the original work of the eleventh century, you must first
pass by a full-length replica produced by modern techniques; here there is a documentary exposition
which situates the work of art for the visitor, the pilgrim as it were. Now, I have it on authority that the
number of visitor minutes spent in front of the replica exceeds in any manner of calculation the
number of visitor minutes spent in front of the original.
'When such discoveries were first made, there were certain old-fashioned people who expressed
disappointmen! even shame. It was like the discovery that masturbation with pornographic material is
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more fun than sex. Quetle horreur!Those Barbarians are within the gates once more, they cried, the
fabric of our society is undermined; But this is not the case. It is important to understand that in the
modern world we prefer the replica-to the original because it gives us greatery'isson.I leave that word
in French because I think you understand it well that way. [...]
Permit me to cite one of my fellow-countrymen, one of those old soixante-huitards of the last century whose errors many of us find so instructive. "All that was once directly lived", he wrote, "has become mere representation". A profound truth, even if conceived in profound error. For he intended it,
astonishingly, as criticism not praise. To cite him further: "Beyond a legacy of old books and old
buildings, still of some significance but destined to continual reduction, there remains nothing, in culture or in nature, which has not been transformed, and polluted, according to the means and interests of
't
modem industry."
'You see how the mind may proceed so far and then lose courage? And how we may locate that loss
of courage in the movement, the degeneration, from a verb of neutral description, "transform" into one
of ethical disapproval, "pollute". He understood, this old thinker, that we live in the world of the spectacle, but sentimentalism and a certain political recidivism made him fear his own vision. I would prefer to advance his thought in the following way. Once there was only the world, directly lived. Now
there is the representati-on - let me fracture that word, the re-presentation - of the world. It is not a substitute for thai plain and primitive world, but an enhancement and enrichment, an ironisation and
summation of ihat world. This is where we live today. A monochrome world has become Technicolor,
a single croaking speaker has become wraparound sound. Is this our loss? No, it is our conquest, our
victory.
Text: Julian Barnes (1999), England, England,London: Picador, 52-55.
1.
Analysieren Sie die verwendete Erziihlhaltung und die damit verbundene Figwencharakterisierung!
Mit welchen Argumenten verteidigt der franzdsische Intellektuelle Sir Jacks Projekt?
2.
3. Auf welche theoretischen Prifmissen stiitzen sieh eliese Argumente?
4. Ordnen Sie den Vortrag des Intellektuellen in den literatur- und kulturwissenschaftlichen
Kontext
der Postmoderne ein!
e
Thema Nr. 4
Analysieren und interpretieren Sie den folgenden Ausschnitt aus William Shakespeares Hamlet (3.
Akt,2.
Szene).
(1) Fassen Sie zuntichst zusammen, was ftir Anweisungen Hamlet hier den Schauspielern zur Austibung der Btihnenkunst erteilt
worauf er sich dabei bezieht!
-
was sollen sie vermeiden, was erreichen?
-
und erdrtern Sie,
(2) Welche ,Aufschltisse iiber zeitgendssische Theaterpraxis und Theaterauffassung lassen sich
aus
seinen Unterweisungen gewinnen und was ist daran relevant?
auf mindestens zwei weitere Dramentexte jener Zeit-, welche Rolle
dem Theater auf dem Theater zugewiesen wird und wie Biihnensflicke so ihr eigenes Medium und
Vorgehen bestiindig reflektieren! Wie ltisst sich dies im kulturellen und politischen Kontext der
Zeit deuten?
(3) Diskutieren
Sie
- mit Blick
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Enter HAMLET and Players
Heuler
Speak the speech, I prayyou, as I pronounced it to you
trippingly
on the tongue. But if you mouth it, as many of our
players do, I had as lief the town-crier spoke my lines. Nor do
not saw the air too much with your hand, thus, but use all gently;
for, in the very torrent, tempest and, as I may say, whirlwind of
your passion, you must acquire and beget a temperance that may
give it smoothness. O, it offends me to the soul to hear a
robustious periwigaated fellow tear apassion to tatters, to very
rags, to split the ears of the groundlings, who for the most part
are capable of nothing but inexplicable dumb-shows and noise. I
would have such a fellow whipped for o'erdoing Termagant - it
out-Herods Herod. Pray you avoid it.
FIRsr PleyBR I warrant your honour.
,,r
HRvLBT Be not too tame neither, but let your own discretion be
your tutor. Suit the action to the word, the word to the action,
with this special observance that you o'erstep not the modesty of
nature. For anything so o'erdone is from the purpose of playing
whose end, both at the first and now, was and is to hold, as
otwere,
the mirror up to Nature to show Virhre her feature, Scorn
her own image, and the very age and body of the time his form
and pressure. Now this overdone, or come tardy ofl though it
makes the unskilful laugh, cannot but make the judicious grieve,
the censure of which one must in your allowance o'erweigh a
whole theatre of others. O, there be players that I have seen play
and heard others praise - and that highly - not to speak it
profanely, that neither having th' accent of Christians nor the gait
of Ciuistian, p&gffi, nor man have so strutted and bellowed that I
have thought some of nature's joumeymen had made men and
not made thern well, they imitated humanity so abominably.
,j'
FnsrPlnypn I hope we have reforrned that indifferently with
us, sir.
HnvlBt O, reform it altogether, and let those that play your
clowns speak no more than is set down for them. For there be of
them that will themselves laugh to set on some quantity of barren
spectators to laugh too, though in the meantime some necessary
question of the play be then to be considered. - That's villainous
and shows a most pitiful ambition in the fool that uses it. Go,
make you ready.
Exeunt Players
OUelle: Hamlet. The Arden Shakespeare. Eds Anne Thompson,
Neil Taylor. London: Thomson Learning 2006,pp.295-99.
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Errirtern Sie die Beeleutung und fudction von Tabubriichen im britischen,,In-Yer-Face-Theatre'o
(auch: ,,Experiental Theatre") der 1990er Jahre anhand mindestens dreier selbst gewiihlter Beispiele
von mindestens zwei verschiedenen Autoren!
Thema Nr. 6
Erliiutern Sie die Auseinandersetzung mit Petrarcas Sonettdichtung in der Fri.ihen Neuzeit! Gehen Sie
dabei auf formale wie inhaltliche Modifikationen ein und ordnen Sie mindestens drei unterschiedliche
Autoren mit einschliigigen Beispielen literarhistorisch ein! Beriicksichtigen Sie dabei auch neuere Forschungsansatze nrpetrarkistischen Liebesauffassungen in der englischen Sonettdichtung des 15.116.
Jahrhunderts!
,l
t
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Thema Nr. 7
Interpretieren Sie das folgende Gedicht unter besonderer Beriicksichtigung von Sprache und Bildhaftigkeit! Diskutieren Sie anschliefJend die in diesem Gedicht artikulierte Naturauffassung Hardys,
indem Sie sie mit dem Nattubegriff der Romantik vergleichen! Ordnen Sie das Gedicht abschlieBend
einer literarhistorischen Epoche zu; begriinden Sie Ihre Zuordnung!
ug
The Darkling Thrush
f lrawr upon a coppicc pte
'Whcn ltost was qpectrergrey,
And Winter's d"e5 made desolarc
the weaLening cye of day.
Ibe
,fl
tangled bide+t€drs scored the sLT
Like sninp of broken lyres,
And all "'onlcind that baunrcd nigh
Had sought their houscholil ftes.
The lands sbarp featrnes seemed to be
Tbe C€otury's colPse ciudeanT
crypt tlie doudv canopy,
Ttawindbis death-laume
The anciet pulpe of gam.and binfr
'Was shnrnken hard anf dry,
Ad ev,ery spnt upon earth
IIs
Seemed fewourless as
L
At once a voice arose arnong
The blcak twip overhcad
In a full-hcarrcd cv€nsong
Ofjoy illimited;
an
,f,
aged thrush, ftaii,.garml 31d small,
In blast-betrfied plume,
IIad chosen thus to 4ilrg his soul
Ufon the growing glooo-
little carue for carolings
Of srch astatic sound
Was wdtten m terrestrial tlings
Afar ornigharoun4
So
That
I
could ttiiirc-there trembled tbno"gh
Hir h"ppy geoil+ight air
Sone blessd HoPq whereofhe knew
fud I w.as uoir:lqare
3t Deembn rgoo
The Complete Poems of Thomas Hardy. The New Wessex Edition, James Gibson, ed.,
i
Macmillan: London, 1976.
I
I
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Thema Nr. 8
Diskutieren Sie die Besonderheiten autobiographischer Literatur wiihrend der amerikanischen Aufkliirung! Wie charakterisieren Autoren wie Benjamin Franklin und andere das Verhiiltnis von Leser und
Text, und inwiefern liisst dies Schlussfolgerungen hinsichtlich der Konstruktion von Identitat/Individualittit im Kontext der friihen amerikanischen Republik zu? Analysieren Sie weiterhin hiiufig auftauchende Symbole und Metaphern, insbesondere sofern sie sich auf den Akt des Schreibens selbst beziehen!
Thema Nr. 9
,f.
"One January day, thirty years ago, the little town of Hanover, anchored on a windy Nebraska
tableland, was trying not to be blown away. A mist of fine snowfl4kes was curling and eddying about
the cluster of low drab buildings huddled on the gray prairie, under a gray sky. The dwelling-fuouses
were set about haphazard on the tough prairie sod; some of them looked as if they had been moved in
overnight, and others as if they were straying off by themselves, headed straight for the open plain.
None of them had any appearance of permanence, and the howling wind blew under them as well as
over them. The main street was a deeply rutted road, now frozen hard, which ran from the squat red
railway station and the grain 'elevator' at the north end of the town to the lumber yard and the horse
pond at the south end. On either side of the road straggled two uneven rows of wooden buildings; the
general merchandise stores, the two banks, the drug store, the feed store, the saloon, the post-offrce.
The board sidewalks were gray with trampled snow, but at two o'clock in the afternoon the
shopkeepers, having come back from dinner, were keeping well behind their frosty windows. The
children were all in school, and there was nobody abroad in the streets but a few rough-looking
countrymen in coarse overcoats, with their long caps pulled down their noses." (Part I "The Wild
Land",9)
((n--
#tr,
cLa
:1
-,. ,
"Un one
of itre ridges of that wintry waste stood the iow iog house in which John Bergson was dying.
[...] The houses on the Divide were small and were usually tucked away in low places; you did not see
them until you came directly upon them. Most of them were built of the sod itself and were only the
unescapable ground in another form. The roads were but faint tracks in the grass, and the fields were
scarcely noticeable. The record of the plow was insignificant, iike the feeble scratches on stoned left
by prehistoric races [...] In eleven long years John Bergson had made but little impression upon the
wild land he had come to tame. It was still a wild thing that had its ugly moods; and no one knew when
they were likely to come, or why. Mischance hung over it. Its Genius was unfriendly to man. The sick
man was feeling this as he lay looking out of the window [...], There it lay outside his door, the same
land, the same lead'colored miles." (Part I "The Wild Land,IT)
"It is sixteen years since John Bergson died. His wife now lies beside him, and the white shaft that
marks their graves gleams across the wheat-fields. Could he rise from beneath it, he would not know
the country under which he has been asleep. The shaggy coat of the prairie, which they lifted to make
him a bed, has vanished forever. From the Norwegian gtaveyard one looks out over a vast checkerboard, marked off in squares of wheat and corn; light and dark, dark and light. Telephone wires hum
along the white roads, which always run at right angles. From the graveyard gate one can count a
dozen gaily painted farmhouses; the gilded weather-vanes on the big red barns wink at each other
across the green and brown and yellow fields. The light steel windmills tremble throughout their
frames and tug at their moorings, as they vibrate in the wind that often blows from one week's end to
another across that high, active, resolute stretch of country.
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The Divide is now thickly populated. The rich soii yields heavy harvests; the dry, bracing climate and the smoothness of the land make labor easy for men and beasts. There are few scenes more
gratiffing than a spring plowing in ttrat eountry, where the furrows of a single field often lie a mile in
l-ength, *O ttrr brown;;th, with such a strong, clean srnell, and such a power of growth and fertility
in it, yields itself eagerly to the plow [...]" (Part II ']treighboring Fields", 45)
Ausgabe: Willa Cather, O Pioneersl. Oxford: Oxford UP, 1999.
ftrF'
Die drei passagen stammen aus Willa Cathers Roman O Pioneersl (1913). Der Roman setzt sich mit
den Erfahrungen skandinavischer Einwanderer auseinander, die sich im Zuge des ,,westward movemento. in Nebiaska niederlassen und versuchen, das Land urbar zu machen. Die Region, in der sie siedeln, wird ,,The Divide" genannt. Der Roman besteht aus insgesamt fiinf Teilen. Die erste und zweite
Passage sind dem ersten ieil ,,The Wild Landoo entnommen, in dem die schwierigen, oft vergeblichen
anf:inglichen Anstrengungen der ErsohlieBung des Landes geschildert werden; die dritte Passage
stammt aus dem zweiien ieil ,,Neighboring Fields", in dem die Erfolge jahrelanger Bemiihungen
sichtbar gemacht werden.
Aufgaben:
l.
2.
Identifizieren und analysieren Sie die Erztihlsituation, die in den drei Passagen gewiihlt wurde!
Identifizieren Sie wichtige stilistische Mittel, die in den Passagen genutzt werden, und erldutem
Sie deren Funktion!
3.
4.
Cathers Romane geh<iren literaturgeschichtlich zur amerikanischen Moderne. Vor allem gestaldie
tungstechnisch welsen ihre Texte jedoch auch Merkmale des Realismus auf. Erdrtern Sie, wie
drei Textpassagen literaturgeschichtlich eingeordnet werden kdnnen !
Er6rtern Sie kritisch die Bedeuflrng von Einwanderung und ,,westward movemenf'ftir die USamerikanische Geschichte
!
Thema Nr. 10
John cheever: ,,The swimmer" (1964)'Exz' The Norton Anttholog" of American Literature"Hg' Nina
Baym et al. seventh Edition. New York: Norton 2007. Bd. E, S. 2250-51.
l.
2.
Analysieren Sie die Vorstellung des Protagonisten im vorliegenden Textausschnitt aus John
Cheevers Kurzgeschichte "The Swimmero'!
Interpretieren Sie die Darstellung des Setting in der vorliegenden Textpassage als fiktionale Repriisentation einer,American suburbia'
3.
!
Catherine Jurca (2001) beschreibt'suburban fiction' als'ia national literary speciality" und "the
central preoccupation of contemporary American fiction". Diskutieren Sie diese Einschfltzung ausgehendion deivorliegenden Passage und anhand von mindestens zwei weiteren Texten anderer
amerikanischen Autoren/innen der Gegenwart !
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The Swimmer
,(r
rf'
It was one of thOse nridsumnrer Sundays when everyone sits around saying: ,,I dranl< too much last night." You might have heard it vuhispered by fhe
paishioners leaving church, hiard it from the lips of the priest himself, strugiling with his cassJck in the aestiariun,t heard it from the golflinks and the
ienn"is courts, heard it fiom the wildlife preserve lvhere the leader of the
Audulron group was suffering from a terrible hangover. ''l'dmnk too much,"
said DonJd dusturhazy. "We all drsnk too much," said Lucinda lvlerrill' "lt
must have been the u,ine," said Helen Westerhazy. "l dtank too much of that
claret."
This was at the edge oF the Westerhazys'pool. The pool, fed by an artesian
well with a high ironlontent, was a pale shade of green.-It was a fine day. In
the west therJwas a massive stand of cumulus cloud so like a city seen from
a distancq-*from the bow of an approaching ship-that it might have had a
name. Lisbon. Hachensach.z The sun was hot. Neddy Merrill sat by the green
water, one hand in it, one arould a glass of gin. He was a slender man-he
seemed to have the especial slenderness of youth-and u'hile he was far from
young he had slid down his banister that monring and given the bronze back'
rid" Jf ,tphtodire3 on rhe hall table a smack, as he joggedtoward the smell of
coffee in his dining room. He might have been compared to a summer's dav,
particularly the last hours of one, and rvhile he lacked a tennis racket or a sail
fag th. impression was definitely one of youth, sport, and clement weather'
He*naa been swimming and now he was breathing deeply, stertorously as. if
he could gulp into his lungs the components of tlrat momerlt' the heat of the
sun, the ii.,t"r,r.n"rr of hii pleasure, It all seemed to flow into his chest. His
own house stood in Bullet Park,a eight rniles to the south, rvhere his four
beautiful daughters r,r'ould have had their lunch and might be playln-g tennis'
Then it occuied to him that by taking a dogleg to the southwest he could
reach his home by water'
and the delight he took in this observation could
His life *a, noi
"o.rffning
not be explained by its suggestion of escaPe. He seemed to see, with a car'
tographer-'s eye, that string of swimming pools, that_ quasi.subterranean
sti'eam that curved across tiie county. He had made a discovery,_a contribu'
rvifle,
rinn
rv *^.1.'. r"^*anh'-,: he u.ror-rld name the stream l-ucinda after his
ltvrr rn
He was not a piactic"l;ok"r nor was he a fool but he was determinedly odginal and had a vague and modest idea of himself as a legendary figure. The
day. was beautifuftnd it seenred to him that a long swim might enlarge and
celebrate its beauty.
He tookoffa sweater that was hung over his shoulders and dove in. FIe had
an inexplicable contempt for men who did not hurl themselves into pools. He
**u* choppy crawl, breathing either with every stroke or every fourth
"
stroke and counting somewhere well in the back of his mind the one-two onetwo of a flutter kicf. It nvas not a serviceable stroke for long distances but the
domestication of swimming hacl saddled the sport with some customs and in
l. Cloakroanr tbr rcligious vestnrents adjaccnt to a
church's sanctuarv.
2. A torvn in Nerv Jerscl'. Lisbon is ahe caPilal ol'
Portugal,
3. Grcek
goddcss of love and bcautv.
i, Fi.'ri.lt"*t"tt,
.tr"d u, a locatiort frrr manr
of
Clrcercr's stories and now'ls,
Fortsetzung niichste Seite!
62618
Herbst 2011
Seite l
l
River.
-12-
Einzelpriifungsnummer 62618
Herbst 2011
Seite 12
Thema Nr. 11
I. Text: Philip Levine, "Detroit Grease Shop Poem" (1972)
II. Aufgaben:
l.
Analysieren Sie Thema und Bildlichkeit des Gediclrts!
2. Unterziehen Sie das Geclicht einer metrischen Analyse!
3. Ordnen Sie das Gedicht in den kultur- und literaturhistorischen Kontext der Zeit ein!
Detroit Grease Shop Poem
Four bright steel crosses,
universal
joints,
out of the burlap ^olucked
sack-
{'
"the heart of the drive train,"
the book says, Stars
on Lemon's wooden palm,
stars that must be capped,
rolled, and annointed,
that have their orders
and their commands as he
has his.
Under the blue
hesitant light another day
at Automotive
r
in the city of dreams,
We're all here to count
and be counted, Lemon,
Rosie, Eugene, Luis,
and me, too young to know
this is for keeps, pinning
on my apron! roiiing up
my sleeves.
The roof Ieaks
from yesterday's rain,
the waters gather above us
waiting for one mistake.
When a drop falls on Lemon's
corded arm, he looks at it
as though it were something
rare or mysterious
like a drop of water or
l0
l5
20
f,;
30
a single lucid meteor
fallen slowly from
nowhere and burning on
his skin Iike a tear.
3i
1972
:
-13-
Ilerbst 2011
Einzelpriifungsmmrme r 62618
Seite 13
Thema Nr. 12
.
1.
Setzen Sie sich mit den politischen sowie theater- und dramengeschichtlichen Aspekten der Ethnisierung des amerikanischen Theaters im 20. Jahrhunderts auseinander!
2.
Stellen Sie wesentliche Aspekte des ethnischen Theaters in den USA an mindestens drei Dramentexten mindestens zweier ethnischer Minderheiten dar!
3.
Gehen Sie auf den Zusammenhang von formalen Entwicklungen und Experimenten im ethnischen
Theater mit politischen und ethischen Zielsetzungen ein und arbeiten Sie transnationale Aspekte
der interethnischen Problematik heraus!
Thema Nr. 13
i,r
Die nachtriigliche Aufarbeitung der Geschichte der Sklaverei findet sich vermehrt seit den l990er Jahren als Thema in postkolonialer Literatur. Besprechen Sie wenigstens zwei Werke fiktionaler und nichtfiktionaler Prosa, ftir die eine solche Thematik von zentraler Bedeutung ist! Gehen Sie dabei auf das
Zusammenwirken formaler und inhaltlioher Merkmale der Texte ein, und erliiutem Sie den zum Verstiindnis relevanten, historischen Kontext! Welche Konzepte postkolonialistischer Theoriebildung sind
bei der Interpretation hilfreich und warum?
ir