Herbst - Phil.-Hist. Fakultät

Priifungsteilnehmer
Priifungstermin
Einzelprii fungsnummer
Kennzahl:
Herbst
Kennwort:
2012
Arbeitsplatz-Nr.:
Erste Staatsprtifung
Fach:
62618
fiir ein Lehramt an tiffentlichen Schulen
Priifungsaufgaben
Englisch (vertieft studiert)
Einzelprtifung: Wissenschaftl.Klausur-Literaturw.
Anzahl der gestellten Themen (Aufgaben): 13
Arrahl der Druckseiten dieser Vorlage:
19
Bitte wenden!
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Thema Nr.
Seite 2
L
IV.8: "A Battle sung by the Muse in the Homerian Stile, and which none but
the
classical Reader can taste"
"Ye Muses then, whoever ye are, who love to sing battles, [...] assist me on this great occasion.
All things are not in the power of all.
As a vast herd of cows in a rich farmer's yard, if, while they are milked, they hear their calves at a
distance, lamenting the robbery which is then committing, roar and bellow: so roared forth the
Somersetshire mob an hallaloo [...]: some were inspired by rage, others alarmed by fear, and others
had nothing in their heads but the love of fun; but chiefly Enty, the sister of Satan, and his constant
companion, rushed among the crowd, and blew up the fury of the women, who no sooner came up to
Molly than they pelted her with dirt and rubbish.
[...] the church-yard was the field of battle [...] Recount, O Muse, the names of those who fell on
this fatal day. First Jemmy Tweadle [...] Nqxt old Echepole, the sowgelder, received a blow in his
forehead from our Amazonian heroine, and immediately fell to the ground. [..,] Then Kate of the Mill
tumbled unfortunately over a tombstone, which catching hold of her ungartered stocking, inverted the
order of nature, and gave her heels the superiority to her head. Betty Pippin,-with young Roger her
lover, fell both to the ground. Where, O perverse fate, she salutes the earth, and he the sky."
Henry Fielding, The History of Tom fones,' a Foundling. 1749. Book fV, Chapter 8.
Ed. R.P.C. Mutter. Harmondsworth: Penguin Books, 1966, repr. 1986.173-74.
1.
Beschreiben Sie im Detail die dargestellte Situation und die Erziihlhaltung im vorliegenden
Romanausschnitt!
2.
Veranschaulichen Sie beispielhaft am Text den komischen Rrickgriff auf klassisch-antike
Er zahltr aditionen und Stilmittel !
3.
Behrandeln Sie, ausgehend von dieser Textpassage und auch unter Einbezug anderer, ihnen
bekannter Texte Henry Fieldings Vorgehen im Kontext des Neoklassizismus!
4. Charakterisieren
Sie, ausgehend von dieser Textpassage, die Stellung von Herny Fielding in
der Geschichte des englischen Romans in Hinsicht auf seine Vorliiufer, Zeitgenbssen und auf
die weitere Entwicklung der Gattung!
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Thema Nr. 2
Enjrtern Sie die hier reprtisentierte Identitiitsproblematik
a) beziiglich der verwendeten rhetorisch-narrativen Mittel,
b) im Kontext des Gesamtwerkes von Charles Dickens,
c)
mit Bezug auf die Darstellungsmdglichkeiten und -grenzender Autobiographie und
Entwicklungsromans im Viktorianismus !
Charles Dickens, Great Expectations
Boston-New york: St. Martinrs press,
118'60/611
1 996
des
, ed. by Janice Carrlisle
IPART U
Chapter
I
_
M1, fattrer't family name being Pinipn and my clrrietien narne Philip,
my infant tongu* eould matc of bodr narfier nothing longen or.more
aynlinir rhan Din en I mllarl mtrulf.
ta he nalled Fin.,*J--.. Ein rnrl
^tttre
i give Pirrrpas my father's family neme, on drc authority of his
tombstone and my sisncr * Mrs. Joe Gargery, who marricd rhc bleckamith. As I never salv my father or my mother, and nerrer sav any
likeness of either of them (for dreir days were long before the days
of photogaphr ), my 6rsr fanci* regarding what they wete tilce,
qrere uftreffionablyderived from their tomb$nnes. Thc shapc of drc
leners on mv father's, gaye me an odd idm drat he was a s![uart,
stoug darL man, with curly black hair. From the cdaracter and turn
of drc inscription, 'Atso &argiaaa mf, of rte i6ovcr" I drcc' a
childish ionclusion drat my motlrcr wu freLled and aickly. To five
litdc srone lozengc*, each about a foot and a hrlf long which were
arranged in-a neat row beside their grave, and were srcred to dre
m€mory of five litde brothers of mine - who gave up trying to get a
living,
early in riat universal stnrggle *'I am indebted
for a belief I rcligiouoly entertained drat they had all heen born on
their backs wi& their hands in &eir trousers-pockeq and had never
tiugrr
-L--.
i- -L!^
-L^uttat.t uul
ixillg
--- ttt ttalr ^..-.
^t .5trIJtgrlE.
Lrr
-t---*
Ours was the marsh country,:dourn by tlre river, within, as the'
river wound, ts,enty mile* of thesea. My first mmt vivid and broad
'fringt, seems to me to have been
impression of thc idcntiry:of
gained on a memorable raw eftetnmn towands evening. At such-a
dris Uteak ptace overgrown with
dntc I found out for
"erroin,:that
nenles was the churrchyud,and,drnt Fhiiip Pirrip, tate if thil P.arish,
and also Georgiana wife of 'rhe abo/ve''were dead and buried; and
that Alexander, Bartholomew,:Abralum, Tiobiaq and Roger, infant
chil{ren of the aforcsaid"'wee also dead and buried; and that the
darh tlat rvildernesc b*ytnd rhe churchyanl, intersc*ed with dykes
and mounds and gatcs, s'ith scattered caule fccding on it, was the
marshes; and that the low lsdenlirrc beyond, was rhe river; and tlnt
rhe distant savage lair from udrich rhe wind cras rulhing, y* q: t*i
and tlut ttre sruatt bundle of shivsts growing afraid of it all and
beginning to cry, wes PiP
;uoH]*t
noitel" cried a terrible voicc, ap a man suned uP from
unong tlle grwes at the side of the church porch' "Keep still, you
litde dcvil, ot t'll srt your throat!"
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Thema
Seite 4
Nr.3
Beschreiben Sie die Bedeutung der,,GroBstadt" fiir die englischsprachige Erziihlprosa des
Modernismus an mindestens zwei Beispielen eigener Wahl!
Thema
Nr.4
William Shakespeare, Julius Caesar. Act2 Scene 1
(The Nofton Shakespeare. Gen. ed. Stephen Greenblatt. New York, London, 1997)
Zum Inhait: Brutus, von Cassius zur Beseitigung Caesars angestachelt, von dem beide (Brufus und
Cassius) befiirchten, dass er gegen die republikanische Verfassung Roms die Alleinherrschaft anstrebe,
befindet sich nachts mit seinem Diener Lucius in seinem Garten.
BRUTUS
Get me a taper in my study, Lucius:
When it is lighted, come and call me here.
7
LUCIUS
I will, my lord.
BRUTUS
It must be by his death. And for my part
.r,,I know no personal cause to spum at him,
.r i But for the general.
He would be crowned.
'i ;How that might change his nature, there's the question.
''iIt is the bright day that brings forth the adder,
't, And that craves wary walking. Crown him: that!
, ' And then I grant we put a sting in him
', That at his will he may do danger with.
', Th'abuse of greatness is when it disjoins
,,', Remorse from power. And to speak truth of Caesar,
," I have not known when his affections swayed
' , More than his reason. But 'tis a common proof
.' That lowliness is young ambition's ladder,
. :,Whereto the climber-upward tums his face;
''But when he once attains the-upfrosffiid
He then unto the ladder turns his back,
Looks in the clouds, scorning the base degrees
By which he did ascend. So Caesar may.
Then lest he may, prevent. And, since the quarrel
Il
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Will
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is,
bear no colour for the thing he
Fashion it thus: that what he is, augmented,
Would run to these and these extremities:
And therefore think him as a serpent's egg
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Which, hatched, would as his kind grow mischievous,
And kill him in the shell.
Enter LUCIUS [Brutus'servant] with a letter
LUCIUS
The taper burneth in your closet, sir.
Searching the window for a flint, I found
This paper, thus sealed up, and I am sure
It did not lie there when I went to bed.
35
He gives him the letter
BRUTUS
Get you to bed again; it is not day.
Is not tomonow, boy, the ides of March?
.40
LUCIUS
I know not, sir
BRUTUS
Look in the calendar and bring me word.
LUCIUS
I will, sir.
Exit
BRUTUS
The.9.$gl-aJ!o-4;
yhizzing fu the aig
Give so much light that I may read by them.
A<
TJ
He opens the letter and reads
'Brutus, thou sleep'st. Awake, and see thyself.
Shall Rome, et cetera? Speak, strike, redress!' 'Brutus, thou sleep'st. Awake.'
c{a Such instigations have
been often dropped
Where I have tcok them up.
'Shall
et cetera?' Thus must I piece it out:
stand under one man's awe? What, Rome?
My ancestors did from the streets of Rome
The Tarquin drive, when he was called a king
'Speak, strike, redress.'Am I entreated
!,,
EA
t,
^)
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To speak and strike? O- \ome, I make thee promise,
If the redress will follow, thou receivest
Thy full petition at the hand of Brutus.
Enter LUCruS
LUCIUS
Sir, March is wasted fifteen days.
Knockwithin
BRUTUS
'Tis good. Go to the gate; somebody knocks. [Exir LUCIUS]
Since Cassius first did whet me against Caesar
I have not slept.
Between the acting of a dreadful thing
And the first motion, all the interim is
Like a phantasma, or a hideous dream.
The genius and the mortal instruments
Are then in counsel, and the state of man,
Like to a little kingdom, suffers then
The nature of an insurrection.
60
65
Enter LUCruS
LUCIUS
Sir, 'tis your brother Cassius at the door
Who doth desire to see you.
70
RRITTIIS
Is he alone?
LUCIUS
No, sir, there are more with him.
BRUTUS
Do you know them?
LUCruS
No, sir; their hats are plucked about their ears,
And half their faces buried in their cloaks,
That by no means I may discover them
R..t a-.,
ralqt\
-o.L
vt
^f
75
f^-,^,,tqYvw.
BRUTUS
Let'em enter. lErtl LUCIUS]
They are the faction. O conspiracy,
Sham'st thou to show thy dang'rous brow by night,
When evils are most free? O then by day
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Where wilt thou find a cavem dark enough
To mask thy monstrous visage?
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Erl2iuterungen: "Will bear no colour..." (2.29): Will find no plausible pretext in his conduct so far;
"exhalations" (2.44): meteors (the night is unusually tempestuous); Tarquin (2. 54): Brutus'
ancestor, Lucius Junius Brutus; one of the founders of the Roman Republic, was famous for his role in
expelling the Tarquins, who had ruled Rome as kings.
Interpretieren Sie den Text!
1.
Gehen Sie dabei insbesondere auf die Argumentationslogik ein, mit der Brutus in seinem ersten
Monolog die Ermordung Caesars rechtfertigt (2.10 -24)l
2.
Brutus beschreibt seine persdnliche Verfassung mit dem politischen Begriff ,,insurrection" (2.69).
Liisst sich dies am Text best?itigen?
3. Auf welche allgemeinen staatstheoretischen und kosmologischen Vorstellungen der ShakespeareZeitwvdnz.62 - 69 angespielt? Spielen diese Vorstellungen auch in anderen Dramen
Shakespeares eine Rolle?
Thema
Nr.
5
An der Wende vom 19. ztxn20. Jahrhundert findet sich das Motiv der,,woman with
a
past" im Werk
der bedeutendsten Dramatiker dieser Zeit. So folgte Oscar Wildes Lady Windermere's Fan (1892) ein
Jahr spdter beispielsweise Arthur Pineros The Second Mrs. Tanqueray. Im Jahre 1902 folgfe George
Bernard Shaws Mrs. Warren's Profession. Arbeiten Sie an zumindest zwei Dramen Ihrer Wahl (den
genannten oder anderen) die jeweils spezifische Auseinandersetzung mit gesellschaftlichen
Konventionen der Zeiturfter besonderer Benicksichtigung der Mriglichkeiten des Theaters heraus! Wie
wird die gesellschaftliche Rolle der Frau jeweils dargestellt und wie tragen die Btihnenauffiihrungen
zur Affirmationbzw. zum Wandel dieser Rollenerwarhrngen bei?
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Thema Nr. 6
Er<jrtern Sie anhand selbst gew?ihlter Beispiele von mindestens zwei Autoren die Bedeutung des Petrarkismus in
der Elisabethanischen Versdichtung! Gehen Sie dabei insbesondere
l. auf typische rhetorische
2.
Figuren sowie
auf typische Methoden der Frauendarstellung ein und
3. diskutieren
Sie, welche Bedeutung
William Shakespeare fiir die peharkistische Dichtung in England hat!
Thema Nr. 7
T. S. Eliot, The Waste Land (1922)
Eiiots Geciicht giit ais Sciiltisseitext der Moderne und ist in ftinf Abschnitte von unterschiedlicher
Liinge gegliedert. In der folgenden Passage ist der erste Abschnitt wiedergegeben:
I. I HE tsURIAL
OF THE DEAD
April is the cruellest month, breeding
Lilacs out of the dead land, mixing
Memory and desire, stirring
Dull roots with spring rain.
Winter kept us wann, covering
Earth in forgetful snow, feeding
A little life with dried tubers.
Summer surprised us, coming over the Stambergersee
With a shower of rain; we stopped in the colonnade,
And went on in sunlight, into the Hofgarten,
And drank coffiee, and talked for an hour.
Bin gar keine Russin, stamm'aus Litauen, echt deutsch.
And when we were children, staying at the archduke's,
My cousin's, he took me out on a sled,
And I was frightened. He said, Marie,
Marie, hold on tight. And down we went.
In the mountains, there you feel free.
I read, much of the night, and go south in the winter.
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What are the roots that clutch, what branches grow
Out of this stony rubbish? Son of man,
You cannot say, or guess, for you know only
A heap of broken images, where the sun beats,
And the dead tree gives no shelter, the cricket no relief,
And the dry stone no sound of water. Only
There is shadow under this red rock,
(Come in under the shadow of this red rock),
And I will show you something different from either
Your shadow at morning striding behind you
Or your shadow at evening rising to meet you;
I will show you fear in a handful of dust.
Frischweht der Wind
Der Heimat zu
Mein Irisch Kind,
Wo weilest du?
"You gave me hyacinths first ayear ago;
"They called me the hyacinth girl."
when we came back,late, from the Hyacinth garden,
-Yet
V^"C,ll 4J.l\l
L^:- -.,^+ r ^^,,1J llut
-*- ttlll',
^-,{ *,^,.*
r vw altlD
-^+
J\rut rt6ri,r wvl, I v\rLtl\t
Speak, and my eyes failed, I was neither
Living nor dead, and I knew nothing,
Looking into the heart of light, the silence.
Oed'und leer das Meer.
Madame Sosostris, famous clairvoyante,
Had a bad cold, nevertheless
Is known to be the wisest woman in Europe,
With a wicked pack of cards. Here, said she,
Is your card, the drowned Phoenician Sailor,
(Those are pearls that were his eyes. Look!)
Here is Belladonna, the Lady of the Rocks,
The lady of situations.
Here is the man with three staves, and here the Wheel,
And here is the one-eyed merchant, and this card,
Which is blank, is something he carries on his back,
Which I am forbidden to see. I do not find
The Hanged Man. Fear death by water.
I see crowds of people, walking roturd in a ring.
Thank you. If you see dear IWs. Equitone,
Tell her I bring the horoscope myself:
One must be so careful these days.
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Unreal City,
Under the brown fog of a winter dawn,
A crowd flowed over London Bridge, so many,
I had not thought death had undone so many.
Sighs, short and infrequent, were exhaled,
And each man fixed his eyes before his feet.
Flowed up the hill and down King William Street,
To where Saint Mary Woolnoth kept the hours
With a dead sound on the final stroke of nine.
There I saw one I knew, and stopped him, crying "Stetson!
"You who were with me in the ships at Mylae!
"That corpse you planted last year in your garden,
"Has it begun to sprout? Will it bloom this year?
"Ot has the sudden frost disturbed its bed?
"Oh keep the Dog far hence, that's friend to men,
"Or with his nails he'll dig it up again!
"You! hypocrite lecteur! - mon semblable, - mon frdre!"
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Text: T. S. Eliot, The Complete Poems and Plays of T. S. Eliot, London: Guild Publishing, 1989: 6142,
1.
Der erste Abschnitt ("The Burial of the Dead") ist in vier Strophen gegliedert. Analysieren Sie
die thematischen Schwerpunkte innerhalb der Strophen!
2.
Mit welchen lyrischen Ausdrucksmitteln werden Tod und
3.
Diskutieren Sie das im Text angesprochene Verhiiltnis von Vergangenheit, Gegenwart und
Zukunft!
4.
Ordnen Sie die'vorliegende Passage, auch unter Rtickgriff auf weitere Texte, in den
geistesgeschichtlichen Kontext der 192Aer Jahre ein!
Sterben zur Darstellung gebracht?
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Thema Nr. 8
Auszug aus Edgar Allan Poe, ,,The Murders in the Rue Morgue" (1841)
Poes Kurzgeschichte setzt ein mit Reflexionen des Erziihlers fiber die intellektuellen Fiihigkeiten des
Menschen. Im Anschluss berichtet der Erzd}ler davon, wie er bei einem Aufenthalt in Paris den
hochgebildeten, exzentrischen, jedoch verarmten C. Auguste Dupin kennenlernt und mit diesem in die
Aufkiiirung eines besonders brutalen Doppelmords an zwei alleinstehenden Frauen verwickelt wird.
Die.beiden erfahren von den Morden durch die Zeitvrrg, verfolgen die Presseberichterstattung, und
Dupin beschlieBt, sich durch eine Tatortbesichtigung in die Ermittlungen einzuschalten. Aufgrund
seiner analytischen Kombinationsgabe gelingt es ihm, den Fall zu l<jsen: Die beiden Frauen waren von
einem entflohenen Orang-Utan getdtet worden.
The mental features discoursed of as the analytical, are, in themselves, but little suscepible of
analysis. We appreciate them only in their effects. We know of them, among other things, that
they are always to their possessor, when inordinately possessed, a source of the liveliest
enjoyment. As the strong man exults in his physical ability, delighting in such exercises as call his
muscies into action, so giories the anaiyst in that moral activity which disentangles. He <ierives
pleasure from even the most trivial occupations bringing his talent into play. He is fond of
enigmas, of conundrums, hieroglyphics; exhibiting in his solutions of each a degree of acumen
which appears to the ordinary apprehension praeternatural. His results, brought about by the very
soul and essence of method, have, in truth, the whole air of intuition. [. . . ]
The narrative which follows will appear to the reader somewhat in the light of a
commentary upon the propositions just advanced.
Residing in Paris during the spring and part of the summer of l8-, I there became
acquainted with a Monsieur C. Auguste Dupin. This young gentleman was of an excellent, indeed
an illustrious family, but, by a variety of untoward events, had been reduced to such poverty that
the energy of his character succumbed beneath it, and he ceased to bestir himself in the world, or
to care for the retrieval of his forhrnes. By courtesy of his creditors, there still remained in his
possession a small remnant of his patrimony; and, upon the income arising from this, he managed,
by means of a rigorous economy, to procure the necessities of life, without troubling himself about
its superfluities. Books, indeed, were his sole luxuries, and in Paris these are easily obtained.
Our first meeting was at an obscure library in the Rue Montmartre, where the accident of
our both being in search of the same very rare and very remarkable volume, brought us into closer
communion. [. . .] It was at length arranged that we should live together during my stay in the city;
and as my worldly circumstances were somewhat less emba:rassed than his own, I was permitted
to be at the expense of renting, and furnishing in a style which suited the rather fantastic gloom of
onr cornmon temper, a time-eaten and grotesque mansion, long deserted through superstitions into
which we did not inquire, and tottering to its fall in a retired and desolate portion of the Faubourg
St. Germain. [. . .] It was a freak of fancy in my friend (for what else'shall I call it?) to be
enamored of the night for her own sake; and into this bizarrerie, as into all his others, I quietly
fell; giving myself up to his wild whims with a perfect abandon.f. . .l
Not long after this, we were looking over an evening edition of the Gazette des Tribunaux,
when the followingparagraphs arrested our attention.
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"ExTRAoRDINARv MuRoeRs. - This morning, about three o'clock, the inhabitants of the
Quartier St. Roch were roused from sleep by a succession of terrific shrieks, issuing, apparently,
from the fourth story of a house in the Rue Morgue, known to be in the sole occupancy of one
Madame L'Espanaye, and her daughter, Mademoiselle Camille L'Esplanaye. After some delay,
occasioned by a fruitless attempt to procure admission in the usual manner, the gateway was
broken in with a crowbar, md eight or ten of the neighbors entered, accompanied by two
gendarmes. By this time the cries had ceased; but, as the party rushed up the first flights of stairs,
two or more rough voices, in angry contention, were distinguished, and seemed to proceed from
the.upper part of the house. As the second landing was reached, these sounds, also, had ceased,
and every thing remained perfectly quiet. The party spread themselves, and hurried from room to
room. Upon arriving at a large back chamber in the fourth story (the door of which, being found
locked, with the key inside, was forced open), a spectacle presented itself which struck every one
present not less with horror than with astonishment.
The apartment was in the wildest disorder - the fumiture broken and thrown about in all
directions. [. . .] Of Madame L'Espanaye no traces were here seen; but an unusual quantity of soot
being observed in the fire-place, a search was made in the chimney, and (honible to relate!) the
corpse of the daughter, head downward, was dragged therefrom [. . .] After a thorough
investigation of every portion of the house without farther discovery, the party made its way into a
small paved yard in the rear of the builCing, ','l'here lay the corpse cf the cld lady, with her throat
so entirely cut that, upon an attempt to raise her, the head fell off. The body, as well as the head,
was fearfully mutilated - the former so much so as scarcely to retain any semblance of humanity.
To this honible mystery there is not as yet, we believe, the slightest clew."
t...1
Dupin seemed singulmly interested in the progress of this affair - at least so I judged from
his manner, for he made no comments. It was only after the announcement that Adolphe Le Bon
had been [falsely] imprisoned, that he asked me my opinion respecting the murders.
I could merely agree with all Paris in considering them an insoluble mystery. I saw no
means by which it would be possible to trace the murderer.
'oWe must not judge of the means," said Dupin, "by this shell of an examination. The
Parisian police, so much extolled for acumen, are cunning, but no more. There is no method in
their proceedings, beyond the method of the moment [. . .]
As to these murders, let us enter into some examinations for ourselves, before we make up
an opinion respecting them. [. . . ] We will go and see the premises with our own eyes. I know G-,
the Prefect of Police, and shall have no difficulty in obtaining the necessary permission."
The permission was obtained, and we proceeded at once to the Rue Morgue. [. . .] The
examination occupied us until dark, when we took our departure. [. . .] It was [Dupin's] humor,
now, to decline all conversation on the subject of the murder, until about noon the next day. He
then asked me, suddenly, if I had observed anythingpeculiar atthe scene of the atrocity.
There was something in his manner of emphasizingtheword "peculiar," which caused me
to shudder, without knowing why.
"No, nothing peculiar," I said; o'nothing more, at least, than we both saw stated in the
paper."
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"The Gazette," he replied," has not entered, I fear, into the unusual horror of the thing. But dismiss
the idle opinions of this print. It appears to me that this mystery is considered insoluble [. . .] for
the outrd character of its features. The police are confounded by the seeming absence of motive not for the murder itself - but for the atrocity of the murder. They are puzzled, too, by the seeming
impossibility of reconciling the voices heard in contention, with the facts that no one was
discovered upstairs but the assassinated Mademoiselle L'Espanaye, and that there were no means
of egress without the notice of the party ascending. [. . .] But it is by these deviations from the
plane of the ordinary, that reason feels its way, if at all, in its search for the true. In investigations
such as we are now pursuing,it should not be so much asked'what has occurred,' as'what has
occurred that has never occurred before.' ln fact, the facility with which I shall arrive, or have
arrived, at the solution of this mystery, is in the direct ratio of its apparent insolubility in the eyes
of the police."
Ausgabe: The Complete Tales and Poems of Edgar Allan Poe. New York: Vintage, 1975. 14l-68.
Vokabular: conundrum - Riitsel; acumen - Scharfsinn; bizarrerie - exzentrisches Verhalten; clew
: clue - Hinweis; the outrd character - der auBergewohnliche/uniibliche Charakter
Fragen:
1.
2.
3.
Identifizieren Sie die Erziihlperspektive(n) in der Textpassage und analysieren Sie deren
Funllion!
Welche weiteren erziihlerischen und stilistischen Mittel charakterisieren die Textpassage und
welche Effekte werden dadurch erzielt?
In welchen literatur- bzw. gattungsgeschichtlichen Kontexten kann,,The Murders in the Rue
Morgue" eingeordnet werden? Welche kulturgeschichtlichen Kontexte ktinnen als relevant fiir
die Kurzgeschichte angesehen werden ?
Thema Nr. 9
Diskutieren Sie die fiktionale Auseinandersetzung mit Krieg und Kriegserfahrungen in der
amerikanischen Erziihiliteratur zwischen ca. i 880 und ca. i930! Beriicksichtigen Sie dabei mindestens
drei Texte j eweils unterschiedlicher Autoren/innen!
-14-
Herbst2012
Seite 14
62618
Thema Nr. 10
Chapter One
. \Mnter 1912
Manitou,geezisohns
Litt[e Spirit Sun
Nanapu'sh
started dying before the snow, and like the snow, wg continued to fall. lt was surpri3ino
oiur teft to die. Foi those who survived lhe spoltSd ;icrness from the
wind
south,.our tong Rght west to Nadouissloux land where we signed thetreaty, and then a
from the north
from the east, bringing exile in a sigrfn of government papers, what descended
b in 1912 seemed innpossible
have claimed
By then, we thotighi disaster must surby'have soent its force, that disease must
rli of tn* Anishinibe that the earth could hotd and bury.
you are
But the eafrh iS iimitiess and so is luck an{ so lverc cur people qnq:- Granddaughter,
the child of tfre nnViiiOle, the ones who disappeared wheh, along'with the first bitter
by
of eaqlv *i'nt"r, a new:sigkness'sw"pt down. Thq col:Ymption, it was. called
4 O ;;;irt
the
to
young fatfrer Damien, *t'to ca.me inr:that year to rePlace !h,e nngSt who sucqumbed
for itcame
same devastation,as his flock. fniS Air""l" was di'fferent frqh the pox a.nd fever,
lay ill
your
relatiVes
of
on.slow. rn" ou1iorn", ho*"u"r, ,,yss justas certain. Wholg families
clans
i.-iilbi#h. on.- t# reservation, where we wer9.forc"d,tJ9t:lo_s.:tl1 the
Jwinor"i. oritribe unraveled tlke a course rope, frayed a!either en$ as the old and new
AS ,among
ua *"r" l"f"n. My own familyw..qs,wip_ed ouf gne bV on,e,,ieavi5rS only'Nanapush. And
seen
after, atthough I n"J riu*.i no mcji"iri"n'tittv*inters, I wgs tongldergd an otd man. I'd
a
upon
hundred
in
a
enough to be'on;. l" iG G"irlio p"Ss"d,'i saw more cha.ngethan
:
hunciieci
llife
il;;";;;;;;ilrt
r""t.
;ft;iprlJr
.
bgfog.
LO
UV girl, I saw the
the last bear s
aloud the words of the g overn
would take away our woods and
the last Pillager
Louise Erdrich, Tracks,Nevr York, Harper & Row, PubliShers, 1988, Seiten
1.
l-2
Unterziehen Sie diesen Romananfang einem,,close reading"f Gehen Sie dabei auf sprachliche und
stilistische Besonderheiten ein !
2. Stellen Sie den Text in seinen literaturhistorischen Kontext!
3. Skizzieren Sie neuere Entwicklungen
im Bereich der Native American Literaturet Welche Rolle
spielen hier die Werke von Louise Erdrich?
-15-
TIefrst'2I)12
Seite 15
Thema Nr.
lL
1. Analysieren Sie die sprachlichen und stilistischen Mittel des Gedichts!
2.
Situieren Sie das Gedicht im kulturhistorischen Umfeld der Harlem Renaissance!
3. Diskutieren Sie mit Bentg auf zttrei weitere Autor/innen die literarische
neuen afroamerikanischen Selbstbewusstseins und -verstiindnisses
in
Darstellung eines
den 1920er und 1930er
Jaluen!
Claude McKay: "America". In: Kennedy, X. J./Gioia,Dana. Literature: An Introduction to
Fiction, Poetry, and Drama. New York: Longman, 1999.950.
Clurcle
McKay
(1Beo-1948)
A.tulpzuca
l9z2
Although she feeds me bread of bitterness,
And sinks into rny thloat her tiger's toorh,
Stealing my breath of [ife', I rvifi confess
I love this cultured hell that test^s my youth.
Her vigor florvs likc rides into my blood,
Giving me strength erect against her hate,
Her bigness sweeps rny being like a flood.
Yet:, as a rebel fionut a kirig in state,
i srand rvithin her u,alls with nor a shred
Of tcrror, malice, not a word of jeer.
Darkly I gaze inro rhe days aheacl,
And.see her might ancl granite u,onders there,
Bcneattr the torrch of Time's unerring hancl,
Like priceless rreasures sinking in the sand.
-16-
Ffeftffi'2012
'
Einzelprfi fungsnumm er 62618
Seite 16
Thema Nr. 12
Text: MarshaNorman,'night, Mother. New York: Hill, 1983. S. 86-89
Die vorliegende Schlusspassage von Marsha Normans Zweipersonenstiick aus dem Jahre 1983 setzt
unmittelbar vor Jessies Selbstnord ein, den diese zu Beginn des Biihnengeschehens angekiindigt hatte
1. Analysieren
Sie die dramatische Repriisentation des Verhiiltnisses zwischen Mutter und Tochter in
der vorliegenden Passage. Beachten Sie dabei insbesondere auch die Dialoggestaltung!
2. Interpretieren Sie den Selbstmord Jessies als Ausdruck ihres Bemi.ihens um Selbstbestimmung!
3. Diskutieren Sie den Schluss von'night, Motherim Kontext wesentlicher Positionen und
Stt-ukfurztige der amerikanischen feministischen Dramatik der letzten beiden Jahrzehnte!
I'or"fsefzrr ncr
lt
n
4nhsfa
Saifat
rv
^rFvMo
'"Tfeibst2012
EirzelprUfungsnummer 62618
Seite 17
I gucss. .[ rried to be quiet altotrt ir. (lr ;rreirre
k pu.zzled l)y the pretenrs) Thosc are iusr lirrle presencs.
Iior rvltcncver yorr rrccd onc. 'fhcy're not boughr prescnts, iust thing"s I thoughr you nrighr likc to look at,
;rictures or rhin5n you think you'vc losr. Things you
didn't know you hrtl, everr. Yotr'll sce.;essir,:
N{AI\,{A:
I'm not sure I $'anr
them
They'll ntakc rnc
rlrink of you.
JFjssIE:
No they won't. 1'hey'rc just rhings, like a frec
tubc of toorhpasre
r\rrrr\rA: Oh.
I
found hanging on (hc cioor oirc day.
Allright, then.
J.EssrE: Well, maybe tlrerc's onc nicc prcscrlr in therc
sortrclhere. Ir's Ciranny's ringshe g:lee tle arrd I rhought
you mighr likc to havc it, bur I didrr't think you'd rvear '
it if I gavc it ro you right norv.
_
rrnrrr.r (7'afting tlte hox'to a tahle tearby)t No. Probably not. (Tunting back to faoe her) I'm reedy for rny
tnlnicurc. I gucss. lVanr nre to rvash nry liands ag;rin?
Jessrn, (Srazding
i\r^AtA (Startbtg
ttp): Ir's tirne for me to go, lllanra
for her): No,
Jessie,
/ou'r'e
gc.rc
nll
rrightl
Jessre
(ls
;\tltrrA rar,rrr'l:er): No, r\{anrl.
;\tA;\IA: It's not even ten o'cloc'l<'
yessre ( l/ery caltn):
Let tne go, i\'tlrna
uA^tA: I can't. Yotl carr't go. Yorr .can't do this' You
l.re so soon, Jessie' I'm scared' I love
tlidn'r saf it rvoulcl
you.
l:ands aw'ay)t l-et go
-russrE (7al'es bbr
I've said e.verything I hed co s'r1'.
t:f
nte, i\'lanra'
.
:\(.ri\rA (standing still
ro do my nails.
n zninure): You said yotr rvatttcd
.lrssrr (TaAinp; a nttall
step
backwatd): I can't' It's torr
latc,
nl,t
lr,r: It's not too latc!
lrxste: I dorr'r \vant yorl to rvake l)arvson hnd Lorettr
rr'hen you call. I rvant thcnr ro still be rrp and dresscd
5o glrey can get
riqht over.
hrA;\r^ (.{s Jpssln backs itp; }/.e'\1^ n'ouei in on her, brn'
carefully): T'hcy.'rvake up fast, Je-ssie' if they have to'
Thry don't s161xs1 ftere,'J<ssie. You do' I'do' We're not
throueh yct. \4/c've:gorlarlot of thinSn to take carerof
h.re. I dorr't knorv, ivhirerruy'Piescriptions are'nnd you
rvhacitic;tell;Di; Dtvis'whcn' he'calls or
horv nrrtch you rvanting;.io.tcll Ricky or rvhc I call to
clidn't rell
ure
rekeihc1..t1.,n,...''.;:i..;ii
:
Fortsetzung niichste Seite!
Flerbst20l2
62618
.IEsi.srri:
Seite 18
Don't try errrl stop tnc, t\.larrrrr, you carr't tlo ir.
irt,r;rt..r (Gralbing lter agnitt, tlsis thne lsard)-- I can rool
I'll srand in front of this hall and you can't ger lr:tst rne.
(I'bey strugglc) You'll havc ro knock nrc dorvn ro ger
nrvay fr<lnr mc, Jessic. I'ln nor nllorrr to ler 1'ou . . .
(ttentn slntpqles d;ith lwsr*:. at the door aml in
JEssrE .gers a.rl,d! f rotil l-tcr'and-
the
stntggle
lr.ssra (Alutctst a wltitlrter): 'Night, llotlrcr. (Sln taninto lser bcdroorrt an<Itc l:eor tlte door lock just ns
fuhes
rr,r:rrr
.qcts ra
it)
:rr.trr,r (.Sr:re,rzrr): Jcssie! (I'ounditg ott tlte door) Jessic,
yotr let tue irr tlrerc. I)rrn't _1,611 <lo rhis, Jessie. I'nr nor
going to stop sr:rearrrirrg urrril you opcn rhis d<;or, Jcssic.
Jcssic! Jcssicl \Vhar if I don'r do any of rhc thirrqs yrou
tolcl rrre to rlol I'll tcll Cccil rr.lrrc I ntiscrnblc rnan hc u':r.s
to rrtakc yorr feel thc s':r-y he did arrd I'll give Ricky's
rvatch to Dnrvson if I lcel |ike ir rrrrl the only lve)' yor.r
c;trr rn;rlie srrrc I do u.ltar yotr rvallt is you conle orrt lterc
arrd nral{c nre, Jessicl (l'1onttditto ag,titr) Jessie! Srop thisl
I rlirln't l<norvl I rvas hcrc rr,irh yorr all rhe rirrre- I{orr.
cotrlrl I linorv \'ou.rvcre so :rloltc?
(lrtd ;rr.ritrn stopt f or o Ttto?ilctlt, Ineathless and frrttttic,
lttrttittlq l:cr car !o thc door, nttrl lrrrlsc'n sl:t- tlocstt't l.rcar
ailytltin4, shc startrls rrl, tttili!:l.tt neditt dr:rl scrcanrt oilc(
rtrorc)
Jcrsici Plcnsc!
(And ue bem tbe slsot, ard it sounds like an altsaler' it
sottnds lihc No.
.\IA^,rA iollapscs againtt the door, tears strcnttirtg doz-rt
lser face,
lnt iot
screattittlg nn!?r,ore.
Jcssic, Jcssie, qlriltl
you rrerc ntitrc-
ln
sbock nmts)
. . . Iiorgive rnc. (Parlre) I thorrght
(r1nd ilte le*v*t's thc loor ond uaL'es hcr 't:;tt! il)rlilgh
the liting rocrt, aroltltl tl:e furniture, nt tltougb slse
didnlt knrrw u'herc it a)at, ?tot kttouing '.Dltat to doI;inalls-, sbe goes to tbe stoL'e itr the kitchen nru! picks
ttp the .hot-chocolatc pilt and carrics it tttitb het to tbe
!
:
Tiicpbote, ard holds on.ro it 'utbile sbe dials ilte ntn,therSbe loohs dottvtt at tbe pnn, hotding it tigl:t like her lif e
depended oil it. She hears Loretta tittsuser)
\,(An{-\: I-,orctra, let ntc ralk (o Das'sor1r honey.
-19-
''Tlerrbst2012
62618
Seite 19
Thema Nr. 13
Als 'postkoloniale Romane'gelten in der britischen Literatur h5ufig Romane von Migranten
aus den
ehemaligen Kolonien GroBbritanniens. Die hier vorfindbaren Neupositionierungen bzgl. nationaler,
ethnischer usw. Identitiit und AlteritAt betreffen alle Strukfurebenen des Romans: die
Erziihlperspektive, den Handlungsaufbau und die Figurendarstellung. Erliiutem Sie solche
stnrkturellen Merkmale anhand von mindestens zwei Romanbeispielen und gehen Sie dabei auch auf
die Aufnahme traditioneller Textsorten(2. B. Bildungsroman, pikaresker Roman) sowie auf die
Integration postmoderner Strukturen (2.8. Dezentrierung, Parodie) einl Erl?iutern Sie abschlie8end,
welche Entwicklungstendenzen in der'postkolonialen Romanliteratur' in den letrten Jahrzehnten auch beztiglich unterschiedlicher Migrantengenerationen - erkennbar sind
!