Herbst - Phil.-Hist. Fakultät

Priifungsteilnehmer
Priifungstermin
Einzelpriifun gsnum mer
Kennzahl:
Herbst
Kennwort:
62618
2007
Arbeitsplafz-Nr.:
Erste Staatspriifung ftir ein Lehramt an tiffentlichen Schulen
Priifungsaufgaben
-
-
Fach:
Englisch (vertieft studiert)
Einzelpriifung:
wissenschaftl.Klausur-Literaturwissenschaft
Anzahl der gestellten Themen (Aufgaben): 13
Anzahl der Druckseiten dieser Vorlage: 13
Thema Nr.
I
Jane Austens Romane gelten als friihe Beispiele der so genannten novel of manners.
Diskutieren Sie an
niindestens zwei Textbeispielen die formalen (insbesondere erz?ihltechnischen) und
inhaltlichen Charakteristika von Austens Romanen im sinne der novel of manners!
Untersuchen Sie dariiber hinaus auch Bezig e ntErzahltraditionen des 18. Jahrhunderts
sowie nicht
realistische Aspekte!
Nehmen Sie entweder explizit Bentgauf die Darstellung kultureller und gesellschaftlicher probleme
der Zeit oder diskutieren Sie die rezeptionsgeschichtlichin Umdeutung.n-*a
medialen Aneignungen
der Romane anhand von aktuellen Verfilmungen!
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Herbst 2007
Einzelpnifungsnunmer G}GIB
Seite 2
Thema Nr. 2
Diskutieren Sie an mindestens drei Romanen verschiedener Autoren und unterschiedlicher
Zeitendie
Bedeutung des Raums ftir die englische Erziihlliteratur des 19. Jahrhunderts!
Thema Nr. 3
For having lived in westminster - how many years now? over
twenfy, - one feels even in the midst of the traffic, or waking at night,
clarissa was positive, a particular hush, or solemnify; an indescribable
pause; a suspense (but that might be her heart, affected, they said, by
influenza) before Big Ben strikes. There! out it boomed. First a warning,
musical; then the hour, inevocable. The leaden circles dissolved in the aii.
Such fools we are, she thought, crossing Victoria street. For Heaven only
knows why one loves it so, how one sees it so, making it up, building it
round one, tumbling it, creating it every moment afresh; but the veriest
frumps, the most dejected of miseries. sitting on doorsteps (drink their
downfall) do the same; can't be dealt with, she felt positive, by Acts of
Parliament for that very reason: they love rife. In people's eyes, in the
swing, tramp, and hudge; in the bellow and the uproar; the carriages, motor
cars, omnibuses, vans, sandwich men shuffling and swinging; brass bands;
barrel organs; in the triumph and the jingle and the strange high singing of
some aeroplane overhead was what she loved; life; London; this moment of
June.
Virginia Wolf, Mrs Dalloway.St. Albans: panther, 1976,6.
I
Analysieren Sie im Detail die Gestaltung der Erziihlperspektive im vorliegenden Textausschnitt!
Greifen Sie dabei auf wenigsteni eine der von FranzK. Stanzel, von Wayire C. Booth
oder von
Gdrard Genette vorgestellten erziihltheoretischen Typologien zunick *d r"r*rchaulichen
Sie
diese am Text!
2.
Welche Technik der Gedankenwiedergabe wird insbesondere in der m,,eitenHrilfte
des Textausschnitts verwendet? Nennen Sie bitte kurz ihre wesentlichen Merkmale (auch im
Unterschied zu
anderen Formen der Gedankendarstellung) und veranschaulichen Sie diese Ueispietnaft;T";
J
a
Behandeln Sie, ausgehend von dieser Textpassage, die Darstellung und Thematisierung
der Zeit
in Mrs Dalloway oder in anderen Ihnen bekannten Texten der klassischen Moderne!
4.
Behandeln Sie, ausgehend von dieser Textpassage, die Stellung von Virginia Woolf
in der Geschichte des englischen Romans in Hinsicht auf ihre Vorliiufer, ZeitgenJssen und auf
die weitere
Entwicklung der Gaffungim}}.
Jalrhundert!
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Herbst 2007
Einzelpnifungsnummer 62618
Seite 3
Thema Nr. 4
)
J
i
9r)
9S
Ror\'rEo
Ifo ;ur-rrr, touching her
,{rr<l palnr to palnr is
I
0rl
hand] lf i profalrc s.ith rnv rrns.orthiest
T'his holy shrine, the gcntler sin is this:
Ir'lr' lips, hvo blrrshing pi'lgrims, readr.starrd
'fo srnoolh tlrat rotrqlr krrrch s.ith l tenclcr
kiss.
lut.lt: r Oood pilgrirrr. r'irrr clo \l,rong vorrr harrd too nrrrc.lr.
\\'hiclr rrrannerlvo d<'r'otion shori.i in this.
' I,irr srrints ha*,c hinrls tlr;rt pilgrirns' h;rrrcls rlo touch,
lroh
palrnc.rs'o [iiss.
Rorur.:o Ilirvc rrol sirirrls li1rs, alrtl lrolr Jr;rlrrrcrs. lo<l?
lltt.tt.. t Av, llilgrirrr, li;ts th;rt tlrcv rnust'rrsc irr prrn,er.
Ro;\1.:o O therr, <lear sairrt. lct lips do rrfiat h,rirdi clo:
'l'lrcl'prav: grarrt thorr, lcst faith hrnr
to <lespair.
l!rt.lrl
hanrl
sannlv
filgrints'
Sairrts do rrot nrrrvc, thorrgh gr:rrrl for piar.crs'sake.
rr lrilcj r.trr. pr,rvcr's cffc,ct I tahc,
Aisse.s /rerl
Rcltrtt:rj 'l'lrcn rrrovc rrot
Ilc
Text:
Norton Shakespeare, eds. Stephen Greenblatt et al.,New York/London, lgg7, Romeo and Juliet,
1.5,90-103, S. ggg.
The
1
2
Diese Passage zeigt das erste Zusarnmentreffen von Romeo und Juliet riberhaupt, diese Zeilen
sind die ersten Worte, die sie wechseln. Analysieren und erlautern Sie Schritt ft.ir Schritt, wie in
Rede und Gegenrede die Loeik
der Metaphorik entfaltet wfud!
''e---...r-.--_-
Bestimmen Sie die poetische Forrn und Tradition dieses Dialogs und ordnen Sie ihn sowohl gattungspoetisch als alch gender-miiBig ein!
3.
Diskutieren Sie am Beispiel von Romeo and Juliet (oder einern anderen Ihnen bekannten
Shakespeare-Drama) einerseits und einem Gegenbeispiel andererseits die wesentlichen Unterschiede zwischen Schicksals- und Charakterhagridie !
4.
Situieren Sie Romeo and Julietliteraturgeschichtlich als dramatische Verhandlung der Spannung
von sozialer Ordnung und ihrer Strirung, von Anspriichen des Individuums und der Ordnungen
von Familie und Polis!
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Herbst 2007
62618
Thema
Seite 4
Nr.5
Der nachfolgende Textauszug ist das Ende der zveitenszene von Saint Joan: A Chronicle play
in Six
Scenes and an Epilogue (1923) von George Bernard Shaw. Das Stiick behandelt
die legendiir"'Rott"
des Bauernmiidchen Jeanne d'Arc im Hundertjiihrigen Krieg. Die Szene spielt im
Jahr-l429; Ieawrc
(Joan) hat bereits einige Adlige von ihrer Mission tiberzeugtund hat
Audienz bei dem Dau"in"
phin, dem noch ungekrcinten Kdnig charles vII von Frankreich.
n*
I
Analysieren Sie den Textausschnitt unter Beachtung der folgenden Aspekte (in beliebiger
Reihenfolge):
Welches Charakterbild der beiden Figuren entsteht im Verlauf dieses Szenenabschnitts?
Wodurch gelingt es Joan, Charles zu beeinflussen?
Welche Rolle spielen die Szenenanweisungen und die sprachliche Gestaltung der Szene in
Hinblick auf die wirkung der szene auf das Theater- bzw" Lesepublikum?
o
o
o
)
Diskutieren Sie, ob bzw. inwiefern die Merkmale der Szene typisch oder untypisch ftir das
moderne historische Drama sind, nach Mciglichkeit unter Verweis auf andere ihrr"o bekannte
historische Dramen!
JOAN fto the Dauphinl Who be old Gruff-and-Grum?
CHARLES. He is the Duke de la Tr6mouille.
JOAN. What be his job?
CHARLES..He pretends to command the army. And whenever I find a friend I can care for, he kills him.
5
JOAN. Why dost let him?
CHARLES fpetulantly moving to the throne side of the room to escape from her magnetic field] How can I prevent
him? He bullies me. They all bully me.
JOAN. Ad afraid?
10
15
CHARLES. Yes: I am afraid. lt's no use preaching to me about it. lt's all very well for these big men with their armor
that is too heavy for me, and their swords that I can hardly lift, and their muscle and their shouting and their bad
tempers. They like fighting: most of them are making fools of themselves all the time they are not fighting; but I am
quiet and sensible; and I dont want to kill people: I only want to be left alone to enjoy myself in my own way. I never
asked to be a king: it was pushed on me. So if you are going to say 'Son of St Louis: gird on the sword of your
ancestors, and lead us to victory' you may spare your breath to cool your porridge; for I cannot do it. I am not built
that way; and there is an end of it.
JOAN Itrenchant and masterfullBlethers! We are all like that to begin with. I shall put courage into thee.
CHARLES. But I dont want to have courage put into me. I want to sleep in a comfortable bed, and not live in
continual terror of being killed or wounded. Put courage into the others, and let them have their bellyful of fighting;
but let me alone.
20
JOAN. lt's no use, Charlie: thou must face what God puts on thee. lf thou fail to make thyself king, thoult be a
beggar: what else art fit for? Come! Let me see,thee sitting on the throne. I have looked foruard to that.
CHARLES. What is the good of sitting on the throne when the other fellows give all the orders? However! Ihe sits
enthroned, a piteous figurelhere is the king for you! Look your fill at the poor devil.
25
JOAN. Thourt not king yet, lad; thourt but Dauphin. Be not led away by them around thee, Dressing up dont fill
empty noddle. I know the people: the real people that make thy bread for thee; and I tell thee they count no man
king of France until the holy oil has been poured on his hair, and himself consecrated and crowned in Rheims
eathedrai. Ano thou neecjs new ciothes, Chariie. Why cioes noi Queen iook afier ihee properiy?
CHARLES. We're too poor. She wants all the money we can spare to put on her own back. Besides, I like to see
her beautifully dressed; and I dont care what I wear myself: I should look ugly anyhow.
Fortsetzung
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Einzelpriifungsnunmer 62618
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JOAN. There is some good in thee, Charlie; but it is not yet a king,s good.
CHARLES. We shall see. I am not such a fool as I look. I have my eyes open; and I can tell you that one good
treaty is worth ten good fights. These fighting fellows lose all on the treaties that they gain on the fights.
tf w;cun
only have a treaty, the English are sure lo have the worst of it, because they are betier-at tighting thin at tfrinkin!.
J_OAN. lf the English win, it is they that will make the treaty: and then God help poor France!
Thou must fight,
Charlie, whether thou will or no. I will go first to hearten thee. We must take our'courage in both hands:
uV", inj
pray for it with both hands too"
CHAHLES [descending from his throne and again crossing the room to escape from her dominating urgency]
Oh
do stop talking about God and praying. I cant bear people who are always praying. lsnt
it bad enough to have to do
it at the proper times?
40
JoAN /ptfytng himlThou poor child, thou hast never prayed in thy life. I must teach thee from
the beginning.
CHARLES'
am not a child: I am a grown man and a father; and I will not be taught any
more.
JoAN. Aye, you have a little son. He that will be Louis the Eleventh when you die: Would you
i
45
I
not fight for him?
OHAFILES. No: a horrid boy' He hates me. He hates everybody, selfish little
beasil I dont want to be bothered with
children' I dont want to be a father; and I dont want to be son:'especially a son ot st
Louis. i dont
of these fine things you all have your heads full of: I want to be'just w'hat I am. why;";iyou want to be any
mino your own
' i' vslr'! r
business, and let me mind mine?
i
JoAN
50
/agarn .9oltemPtuousl Minding your own business is like minding your own body: it,s the shortest way to
make yourself sick, What is my business? Helping mother at homd. wtiaiis thine? petiinjiapoogs
and sucking
sugar-sticks- I call that muck. I tell thee it is God's business we are here to do: not ou
o*,i.
I have a message to
thee from God; and thou must listen 1o it, though thy hearl break with the terror of
it.
CHARLES. I dont want a messagei but can you tell me any secrets? can you do any cures?
Can you turn lead into
gold, or anything of that sort?
JoAN. I can turn thee into a king, in Rheims cathedral; and that
55
is a miracle that will take some doing, it seems.
CHARLES. lf we go to Rheims, and have a coronation, Anne will want new dresses. We
cant afford them. I am all
right as I am.
JOAN' As you are! And what is that? Less than my father's poorest shepherd. Thourt
not lavvful owner of thy own
land of France till thou be consecrated.
CHARLES. But I shall not be lawful owner of my
land anyhow. will the consecration pay off my mortgages?
have pledged my last acre to the Archbishop and9wn
tnat fat bully. I owe money even to Bluebeard.
60
65
70
I
JoAN fearnestly/ charlie: I come from the land, and have gotten my strength working
on the land; and I tell thee
that the land is thine to rule righteously and keep God's peaie in, ano not to pledge
atihe pawnshop as a drunken
woman pledges her children's clothes. And I come from God to tell thee to kneel ii the
catneorat
solemnly give
thy kingdom to Him for ever and ever, and become.the greatest king in the world as
"nd His bailiff , His
fris itewaro and
soldier and His servant. T.he vgry clay ol France wjll bec.-ome holy: h-er soldiers will
be the soldiers of God: the rebel
dukes will be rebels against God: the English will fall on their t<nees and beg thee ret tn"m
ietrrn to their lawful
homes in peace. wilt be a poor little Judai, and betray me and Him that sent me?
CHARLES [tempted atlasfJOh, if tonty dare!
JOAN. I shall dare, dare, and dare again, in God's name! Art for or against me?
CHARLES [excited] I'll risk it, I warn you I shant be able
keep it up; but I'il risk it. you shal see. [Running to the
main door and shoutingl Hallol Come back, everybody. !g Jo'an, as'he runs back to
[To
the arch opposite]Mind you
stand by and dont let me be.bullied. [Through the archjiome along, willyou: the whole
court. llle sits down in the
royal chair as they all hurry in to their former places, ciattering and-ionderingl. Now l,m
in torli;'nut no matter: here
goes!
the page] Call for silence, you litfle beast, will youi
THE PAGE [slgtching a hatberd as before and thumping with it repeatedlyJ Silence for
His Majest! the King. The
King speaks. [Peremptority] Wiil you be sitent there?'[Siience].
CHARLES [rising] I have given the command of the army to The Maid. The Maid is to
do as she tikes with it. /He
descends from the daisl.
[o
75
General amazement. La Hire, delighted, slaps his steelthigh-piece with his gaunttet.
LA TREMOUILLE [turning threateningty towards Charles]What is this? /command
the
80
army.
Joan quickly puts her hand on Charles's shoulder as h.e instinctively recoils. Charles, with
culminating in an ertravagant gesture, snaps his fingers in the chamierlain's face.
a
grotesque effoft
JOAN,Thourtanswered.oldGruff-and-Gntm lstuidenlvftechinnarihararttarttaaaha;r',,:^^^ra^rL^---4o o' |.tvtt tcr
tct tt'ut ttettt t tas
'e
comelwho
85
is for God and His Maid?
who
is
i"t
otr""i"'*iil';#'
't 'at '
LA HIRE [carried away, drawing atso] For God and His Maidl ro orleansl
ALL THE KNIGHTS [fottowing his lead with enthusiasm/To orleans!
Joan, radlant, falls on her knees in thanksgiving to God. They all kneel, except the Archbishop,
who gives his
benediction
with a sigh, and La Tremouille, who-collapses, cuising.
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Seite 6
Thema Nr.6
Loving in truth, and fain'.in verse my love. to show,
That she (dear she) might take some pleasure of my pain;
Pleasure might cause her read, reading might make her know;
Knowledge might pity win, and pity grace obtain,.
I sought fit words to paint the blackest face of woe.
Studying inventions fine, her wits to entertain;
Oft turning others' leaves, to see if thence would flow
Some fresh and fruitful
showers upon my sunburnt brain.
But words came hal_ting forth, wanting invent,ionr s stay;
Invention, nature's child, fled step-dame study's bl_ows,.
And others' feet still seemed but strangers in my way.
Thus great with chifd to speak, and helpl-ess in my throes,
Biting my truant pen, beating myself for spite,
'Foo1,' said my muse to me; 'fook in thy heart and write.'
(sir Philip sidney, Major works, ed. Duncan-Jones, oxford
19g9, p
1s3)
Interpretieren Sie den vorstehenden Gedichttext, mit dem Philip Sidney (1554-15g6) seinen
Zyklus
Astrophil and stella (geschrieben lsgVgz,gedruckt 1591) erdffnet!
1
Geben Sie zuniichst eine Analyse der Gestaltungsmittel auf den Ebenen von Metrum,
Reim,
Bildersprache und Rhetorik im Hinblick jeweils auf deren Funktion!
2
Ermittetn Sie, welche Problemstellung die Dichterfigur im Text diskutiert, und ercirtern
Sie die
Ltisungsshategie, die dazu am Schluss entworfen wird! Welche Rolle spielen dabei
insbesondere
poetische Vorbilder und rhetorische Modelle?
3
Setzen Sie den Tertm'anderen Beispielen friihmoderner Liebeslyrik in Beziehung
und ordnen
Sie ihn in kulturelle Debatten zur Geschlechterordnung und Literatur um 1600 ein!
Herbst 2007
Eirzel
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Seite 7
Thema Nr. 7
John Keats: Ode on a Grecian [-lrn
Thou still unravished bride of quietness,
Thou foster child of silence and slow time,
Sylvan historian, who canst thus express
A flowery tale more sweefly than our rhyme:
Wh{ leaf-fringed legend haunts about thy ihape
Of deities or mortals, or of both,
ln Tempe or the dales of Arcady?
What men or gods are these? What miidens loath?
What mad pursuit? What struggle to escape?
Whai pipes and timbrels? What wild ecstasy?
5
10
Heard melodies are sweet, but those unheard
Are sweeter; therefore, ye soft pipes, play on;
Not to the sensual ear, but, more endeared,
Pipe to the spirit ditties of no tone.
Fair youth, beneath the trees, thou canst not leave
Thy song, nor ever can those trees be bare;
Bold Lover, never, never canst thou kiss,
Though winning near the goal--yet, do not grieve;
She cannot fade, though thou hast not thy bliss
Forever wilt thou love, and she be faiil
Ah,.happy, happy boughsl that cannot shed
- Your leaves, nor ever bid the Spring adieu;
And, happy melodist, unwearied,
Forever piping songs forever new;
More happy love! more happy, happy love!
Forever warm and still tobe enjoyed,
Forever panting, and forever young;
All breathing human pission far above,
That leaves a heart high-sorrowful and cloyed,
A burning forehead, and a parching tongue.
Who are these coming to the sacrifice?
w_hat green altir, O mysterious priest,
T."
Lead'st thou that heifer lowing at the skies,
And all her silken flanks with garlands dressed?
Wh{ little town by river or sea sh-ore,
Or mountain-built with peaceful citadel,
ls emptied of this folk, this pious morn?
a{ra^{^ r^- ^..-.-r. tu, liffla
;And
iiiriv fnrrrn
ivyvi i, fh'
Li iy oii cijtS lUt' gvglmOfe
Will silent be; and not a soul to tell
Why thou arl desolate, can e'er return.
15
20
OE
30
.
F
'E
40
ortsetzung niichste Seite!
Herbst 2007
t
i
,l
:
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Seite 8
O Attic shape! Fair attitude! with brede
Of marble men and maidens overurrrought,
With forest branches and the trodden weed;
Thou, silent form, dost tease us out of thought
As doth eternity. Cold pastoral!
WhT old age shall this generation waste,
Thou shalt remain, in midst of other woe
Than ours, a friend to man, to whom thou say'st,
Beauty is truth, truth beauty - that is all
Ye know on earth, and all ye need to know
45
50
1820
Text:
HerrigAvleller/Stihnel, Hgg. : British and American clas sical p
oems,
Braunschweig: Westerm ann, 1966,5. 209
I
Interpretieren Sie Gedankengang, formale strukrur und sprachliche
Gestaltung des Gedichts!
2.
Analysieren Sie die der Grecian urn innewohnenden Gegensiitzlichkeiten
und erliiutern Sie das
Verhiiltnis des Sprechers zu ihnen!
J
Stellen Sie anhand des Gedichts Merkmale der romantischen odendichtun
auch auf andere Beispiele dieses Gedichtfyps in der englischen
Romantik
g dar;gehen Sie dabei
ein!
sylvan:
.
Arcady:
10, timbrels:
41, brede:
3,
8, Tempe
pertaining to or living in the woods
avalley in Greeee, sacred to Apollo, the god of poefiy and music
Arcadia, region in the central peloponnesus.
tambourines
embroidery
42, overwrought: covered with.
Thema Nr. 8
1'
2'
i'?
Analysieren Sie die erziihlerischen, sprachlichen und stilistischen
Mittel der passage!
Situieren Sie Herman Melvilles Erzzihlwerk im Kontext der amerikanischen
Romantik!
.
n:^l-"+i^-^cr:^ -^:a n .
irisi(utieren
sie
mii Bezug aut'mvei
weitere Autor/innen aus der ersten Hrilfte des 19. Jahrhunderts das Spannungsverhaltnis von Individuum und Gesellschaft
in der amerikanischen Literatur!
Fortsetzung
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Seite 9
Text:
Herman Melville' ,,Bartleby". In: Herman Melville.
The complete shorter Fiction.New york:
Knopf,
1997. S. 24-25
Now my
_ that of a conveyancer and
-opginal business
title
hunter, and drawer_up
of recondite do.umerrt of all sorts _ was
coruiderably increased by receiving the masrer,s
om.". ifr"r. *r,
now great work for scrivenen. Not only must
I push the
already wirh me, bpt.t must have additiori"ifi"if.^r[;r;.; clerks
;,;
adverrisement, a mbrionless ygung _ri o*
morning, stood upon
my ofnce threshold, the d.ooi beirig open, for
rt was sumrrrer. I.can
see rhar figure now-- pallidly
piti.Uty ,;;pdd:;;;i;
forlom! It
was
'---l
Bartlebv. "."[ L
After a few words iouching his qualificarions,
I engaged him,
glad ro have among.
..pl;-,
gorps-9f
man
of
so singqlarly
1f-
r..&i:
i" .'p".r, -li.hi ,h;;sh;;;riiJp...,"
beneficiafly
upon
the.flighry temper of Turkey,"and r# fi6
one of Nippers
I shoutd have stated beiore that g..r;"J ;r;; r.jiii*_aoo.,
divided my premises inro rwo p"*,
mf scriveners, the other Uy i"yrjn"?"
"i_ii.i ro;*;:;"pLt
A..o.or"o
!f
mv humnr r
threw open these doors,
;#riilffi;
o, clo*d tirem. i;;r;-il;?.
corner by the foldingdoors, bur on my side
.f rfr." rl * ," il""i
this quiet man within easy."il, ir,
*v
oiAing rilig;r"
b;
done. I placed his desk crose up io , r*ru
"rr" ,ii"-window
in that part of
a
,
'
i
i
,
rhe room, a windowwhi"h.o;ginrily
hJ;ff.;.d. G;";i#;;
certain gnmy back_yards-and U;"kr, Uut
which,
quent erecrioru, commanded arpresent
""rj6;..;il;:
no view aiall,
rh;"gh ;;;
some light' within three feet oirtt" p*.r
*L
*"u, and the rieht
came down from far above, b;;;J;;t;fty;"ildG,
"
#i;i':
very srnall
a dome. sU r"rrrr"oi" a satisfacory
anange_
"pemSrgil
Pgt t, Iprocured a high green folding screen; *lri"h-;;i;;A;
isolate Bardeby ftom rny sight, tho,igh
;"_;;; hffi#;;
voice.
"o;
1{ld-thus, in a maruJr, privacy"and ro.r"ay were conjoined.
At fint Bardebv did
q"*tiry
-seemed
".r...ti"*ai"rry
long famishing forsomething
"frril;:;;
to copy, he
ro
gorge hinself
on.my documents. There was,rg pau*" for
digestion. He ran a dav
and night line, coplng by sun_lijht an;;y;?il;:j;;i;.il#ij
begn quite delJghted-with hiiapplirrd.;,
h.d hJ;;;;;il;:
1a-ve
firlly indusrrious. But he wrore on ifi.*iy, pd"fy,
mechanicallv
It is, of coune, an indisperuable part ;:";;;;;il;"i#t;.
verify the accurary ofhis co1,y, wordiy *o.d.
"f Wh"."
,h;;;;;;
or more scriveners in an office, they aisist each
other in ,H";;;;:
inadon, one readine from the copy,
It
is.a v9r)' duil,
ima gin e thar
other holding the orieinal.
the
;eadso;;,-;; ffi#;
affair.
I .rr, ."-"dir,,
i;;:lilJ
to s ome s an guine temp eramen"ts
;, *."-i a U.
intolerable. For example] r
th.
Byron would have conrenreay
"rr-"r'..J-iiltrrlt
r"t aow' witi
a law documenr of,, say fi"" t";dr;;#;
crimpy hand.
Now and then, in rhehaste of
assist
j
'
:
ctosely
written in
a
it had
been my habit to
in comparine some brief do..*;;;;;.[
caliing Turkev or
Nippen for ihis o"u*"r.. oi.;'cil;t;
phcing Bartrebv so
handy to mr urhina ine screen' was
to avair rnyselfofhis senrices
on
such trivid occasions. Ir was
,h;-r-lril;;li cr,i.rt,
:
;
business,
,rr.ttr.rome Doer
il;;;;H#"j
ofhis beine
"; had arisJn fb;;;;hl.;;,i
wirh me, and before any necessiry
rwiting examined, thaq being mu"t t";;
to complere a small
affair I had in hand, I abruprli
Br;iy.
natural expectancy of irucant.compti".r..,
""U;;.,; i-ot tr, _y hasre and
over the original on mv des!. o,i,{ *,, _*i.-, *th my head benc
;.il lifi ff?.iliii
o mewh a r
o-*rv .*." a-.i'
;'J
i',
" fo
upon emerging
6om his rerreat, Bartteby #;h;,;;;;h^;;ffi:..i1
ceed to business without rhe leasr i;";l ^'..""'
In rhis very atdrude did I sit *t.n i"dt"a
to hjm, rapidly srabing
what it was I wanred him to ao _
n..r.ly, ;;;;;r_".
s
{r,
a small paper
with rne..Imagine my su1pris., ,1"y,
;t-;;;;rlilroo.,,
when with_
our rnorring &om his nrivary, Bardeby
_
o
.
o"'
,ing"l..iy
;;,';;
,,I
voice, replied,
wouid p*ii,.
""ii"i,"'
-10-
Herbst 2007
62618
Seite 10
Thema Nr. 9
Text:
Upton Sinclair, The Jungle (1906)
l'
2'
3"
Analysieren Sie Erz?ihlperspektive, Bildlichkeit urd stilistische
Merkmale des Textes!
welche historischen Grunderfahrungen der zeitw,tischen
dem Ende des Brirgerkrieges und dem
Beginn des Ersten weltkrieges w.rd"r, hier literarisch bearbeitet?
ordnen Sie den Text in den literaturgeschichtlichen Kontext
der progressive Era etn!
throughthepacking.r,.R:tilif
i,Xt;:li"::ffi ;i:1"":i'r'iiilX"i:
Jokubas whispered maliciously that the visitors did not see any more
than the packers wanted them to.
They climbed a long series of stairways outiide of the building, to the
top of its five or six stories. Here was the chute, with its river ofligs,
alr
patiently toiling upwards; there was a place for them to rest to co6l
off,
and then through another passageway they went into a room, from
which there is no returning for pigs.
. lt was a long, narrow room, with a gailery arong it for visitors. At the
head there was a great iron wheel, about twenty feet in circumference,
with rings here and there along its edge; upon both sides of this wheel
there was a narrow space, into which came the pigs at the end of their
journey; in the midst of them stood a great burly negro, bare.armed
and
bare'chested. He was resting for a moment, for thJwheel had stopped
while men were cleaning up. rn a minute or two, however, it began srow.
ly to revolve, and then the men upon each side of it sprang to wJrk.
They
had chains which they fastened about the leg of the nearlst pig, and the
other end of the chain they hooked into oneif the rings upon tie *heet.
so, as the wheel turned, a pig wassuddenryjerked offhisieetand borne
aloft.
At the same instant the ear was assaired by a most terrifying shriek;
the visitor started in alarm, the women turned pale and ,nruir. lu.r..
The shrlek was followed by another, louder andyet more agonizing_
for once started upon.that journey, the pig nevertame backiat theiop
of the wheel he was shunted off upon a tiolrey, and went sairing down
the room. And meantime another was swung up, and then anoth-er,
and
another-until there was a doubre rine of them, each dangrin gby a f oot
and. kicking in frenzy-and squealing. The uproar was ippalling,
perilous to the ear'drums; one feared there was too much souni
for the
room to hold-that the walls must give way, or the ceiling crack.
There
were high squeals and low squeals, grunts, and wails oiagony; there
would come a momentary rull, and then a fresh outburst, iouier than
ever, surging up to a deafening climax. lt was too much for some of
the
visitors-the men would look at each other, laughing nervously, and the
women would stand with hands clenched, and the blood rushing to their
faces, and the tears starting in their eyes,
Meantime, heedless of ail these things, the men upon the froor were
going about theirwork. Neithersqueals of pigs nor tears of visitors
made
any difference to them; but one by one they hooked up the pigs, and
one by one with a swift stroke they slit their throats. There was a long
line
of pigs, with squeals and life.blood ebbing away together; until ai last
:ach started again, and vanished with a splash inio a-huge vat of boilinj
.rater,
Forfsetzung niichste Seite!
Herbst 2007
62618
Seite I I
It was all so very business-rike that one watched it fascinated. lt was
pork'making by machinery, pork.making reduced to mathematics.
And
yet somehow the most matter-of-fact person courd not herp
thinking
of the pigs; they were so innocent, they came so very trustingly; and they
were so very human in their protests-and so perfectly within their rightsl
They had done nothing to deserve it; and it was adding insult to injury as
the thing was done here-swinging them up in this cold.blooded, i-pur.
sonal way, without a pretense at apology, without the homage of a tear.
Now and then a visitorwept, to be sure; but this slaughtering-machine ran
on, visitors or no visitors, It was like some horrible crime committed in a
dungeon, all unseen and unheeded, buried out of sight and memory.
One could not stand and watch very long without becoming
philosophical, without beginning to deal in symbols and similes, and to
hear the pig-squeal of the universe. was it permitted to believe that there
was nowhere upon the earth, or above the earth, a heaven for pigs,
where they were requited for all this suffering? Each one of these pigs was
a separate creature, Some were white pigs, some were black; some were
brown, some were spotted; some were old, some were young; some were
Iong and lean, some were monstrous. And each of them had an in.
dividuality of his own, a will of his own, a hope and a heart's desire: each
was full of self.confidence, of self.importance, and a sense of dignity. And
trusting and strong in faith he had gone about his business, the while a
black shadow hung over him, and a horrid Fate waited in his pathway.
Now suddenly it had swooped upon him, and had seized him by the leg.
Relentless, remorseless, it was; all his protests, his screams, were nothing
to it. lt did its cruelwill with him, as if his wishes, his feelings, had simply no
existence at all; it cut his throat and watched him gasp out his life. And
now was one to believe that there was nowhere a god of pigs, to whom
this pig personality was precious,, to whom these pig.squeals and agonies
had a meaning? who would take this pig into his armsand comfort hirr,,
reward him for his work well done, and show him the meaning of his
sacrifice? For all the while there was a meaning-if only the poor pig
could have known it. Perhaps if he had, he would not have squeaied at ali,
but died happy! If only he had known that he was to figure in the bank.
account of some great captain of industry, and perhaps help to found a
university, or endow a handful of libraries, when the captain of industry
died! lt is one of the crimes of commercialism that it thus cruelly leaves its
victims to grope in darkness; that delicate women and iittle children, who
toil and groan in factories and mines and sweatshops and die of starvation
and loathsome diseases, are not taught and consoled by the reflection
that they are adding to the wealth of society, and to ihe power and
greatness of some eminent philanthropist. pbrhaps sorne glimmering of
this truth was in the thoughts of our humble-minded Jurgis, as he turied
to go on with the rest of the parly, andmuttered: ;,Dierves-but l.m ghd
I'm not a pig!"
-12-
Herbst 2007
Eiruel
62618
Seite 12
Thema Nr. 10
Ein wesentlicher zug det amerikanischen Erzeihlliteratur seit
etwa 1960 besteht in der metafiktionalen
s elbshefl exion sowohl erziihltechnischer wi
e thematischer B edingungen.
versuchen sie anhand von mindestens drei Beispielen eine
Entwickrilrg u-nd Funktionsveriinderung im
Einsatz solcher metafiktionalen Elemente darzustellen!
Thema Nr. 11
Adrienne Rich, ,/,unt Jennifer's Tigers,.
Aunt Jennife.rt tigers prance
across
a
screen,
Bright topaz denizens of a world of green.
They do nor fear the men beneath th" n"";
They pace in sleek chiyaldq certainfy.
Aunt Jennifer's fingers fluttering through her
wool
Find even the ivory needle hardto pulll
The massive weighr of Uncle,s wedling band
Sits heavily upon Aunt
Jennifer,s hani.
When Aunt is dead, her terrified hands will
lie
Still ringed with ordeals she was mastered by.
The tigers in the panel that she made
Will
go on prancing, proud and unafraid..
Interpretieren sie das Gedicht unter folgenden Gesichtspunkten:
1.
2.
3.
4.
Thematik;
Form und Aufbau;
Sprache und Metaphorik;
AIs Textbeispiel fiir Gender Studies!
Thema Nr. 12
Diskutieren Sie Themen und Formen des politisch engagierten
US-amerikanischen Dramas und
Theaters des 1960er Jahre! Benicksichtigin Sie dabeiarich
unterschiedliche ethnische Gruppen!
-13-
Herbst 2007
62618
Seite 13
Thema Nr. 13
Lassen sich die Neuen Literaturen in Englisch ohne
die Verwendung von Exotik vorstellen?
2.
Sehen Sie eine Tendenz zu stereotypisierung in
diesen Literaturen? wenn
men? Wenn nein, wie wird sie vermieden? -
J
In Bezug auf die beiden vorhergehenden Fragen (und
Ihre Antworten darauf): Enthiilt der Aspekl
des
in
den
Neuen
Liteiaturen
in
engliscil auch einen konservativen Faktor - etwa in
"Neuen"
Be,,etabliert/neu" oder auf die Festschreib*g uon niidem desieweils
fti#rffi:$"bildung
j4
in welchen For-