I{erbst - Phil.-Hist. Fakultät

Priifungsteilnehmer
Priifungstermin
Einzelp riifu n gsn ummer
Kennzahl:
I{erbst
Kennwort:
42611
2008
Arbeitsplatz-Nr.
Erste Staatsprtifung
-
fiir ein Lehramt
an iiffentlichen Schulen
Priifungsaufgaben
Fach:
Englisch (Unterrichtsfach)
Einzelpriifung:
Interpretation
-
Anzahl der gestellten Themen (Aufgaben): 3
Anzahl der Druckseiten dieser
Vorlage:
6
Thema Nr.
1
Sylvia Plath, ,,Lady Lazarus"
1.
2.
3.
4.
Analysieren Sie das Gedicht unter besonderer Berticksichtigung seiner Formmerkmale und der
verwendeten Bildlichkeit!
Erortern Sie die Bezugnahme auf die nationalsozialistischen Vernichtungslager!
Entwerfen Sie eine Interpretation aus feministischer Perspektive!
Ordnen Sie das Gedicht literaturgeschichtlich ein!
Fortsetzung nzichste Seite!
Herbst 2008
Einzelprtifungsnumme
Sylvia Plath. "Lady l-azarus" (1962).
T'|rc
Nortotr
Atthology of' Anericcut Literulure. Ed. Nina
llaym et al. Vol. II. New York: Norton, 1994,
2137
tf.
Seite 2
Dyrng
+5
Is an art, like everythrng else,
I do it exceptionally well.
I do it so it feels like hell.
I do it so it feels real.
I gLress you could say I've a call
I have done it again.
One year in cvery ten
I manage it--
5
r 42611
A sort of walking miracle, rry skin
Bright as a Nazi lampshade,
My right foot
5
D
It's easy enough to do it in a cell.
It's easy enough to do it and stay put
It's the theatrical
Comeback in broad day
To the same place, the same face , the same brute
A paperweight,
My face a featureless, fine
Amused shout:
Jew 1inen.
d
0
Do I
45
55
Peel off the napkin
O my enemy.
terrify?-
The nose, the eye pits, the full set of teeth?
The sour breath
Wiil vanish in a day.
For the eyeing of my scars, there is a charge
For the hearing of my heal-
(s0 It reaily goes.
And there is a charge, a very large charge
For a word or a touch
Or a bit of blood
Soon, soon the flesh
The grave cave ate will be
At horne on me
20
'A miracle!'
That knocks me out.
There is a charge
Andlasmilingwoman.
I am only thirty.
Ald like the cat I have nine times to die.
6s
Or a piece of my hair or my clothes.
So, so, Herr Doktor.
So, Herr Enemy.
I am your opus,
This is Number Three.
I am your valuable,
The pure gold baby
What a frash
To annihilate each decade
2
5
?
0
What a million filaments.
'fhe peanut-crunching crowd
Do not think I underestimate your great concern
Shoves in to see
3
0
Them unwrap me hand 2nd
The big strip tease.
Gentlemen, ladies
that melts to a shriek.
I turn and burn.
fs61-+s
Ash, ashYou poke and stir.
Flesh, bone, there is nothing
there-
A cake of soap,
A wedding ring,
A gold filling.
These are my liands
My knees.
I may be skin ancl bone,
IJerr God, Herr Lucifer
35
Ncvertheless, I arn thc samc, iclcntical wou-lall
'l'hc first time
it happencd I n,as tcn.
It was an accident.
'l'hc second tirtrc I nteant
'l'o last it out and ltot conrc bacl< at all
I r'ocl<cd slrLrt
t!0
As a scashcll.
'I'hc1,
i1n,1 to call ancl call
Ancl
lticli
Ihc rr,olnts
of'1-
urc lil<c sticl<y pcarls
8
0
Beware
Be rvale
,
Out ol the ash
I risc with rny rcd hair'
And I eat men like air'.
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Einzelpriifungsnumme
Herbst 2008
r 42611
Seite
3
Thema Nr. 2
Mrs. Dalloway said she would buy the flowers herself.
For Lucy had her work cut out for her. The doors would be taken off their hinges;
5
',40
^5
1.
Rumpelmayer's men were coming. And then, thought Clarissa Dalloway, what a morning - fresh
as if issued to children on a beach.
What a lark! What a plunge! For so it had always seemed to her, when, with a little
squeak of the hinges, which she could hear now, she had burst open the French windows and
plunged at Bourton into the open air. How fresh, how calm, stiller than this of course, the air was
in the early morning; like the flap of a wave; the kiss of a wave, chill and sharp and yet (for a girl
of eighteen as she then was) solemn, feeling as she did, standing there at the open window,
that something awful was about to happen; looking at the flowers, at the trees with the smoke
winding off them and the rooks rising, falling; standing and looking until Peter Walsh said,
'Musing among the vegetables?'- was that it? -'l prefer men to cauliflowers' - was that it? He
must have said it at breakfast one morning when she had gone out on to the terrace - Peter
Walsh. He would be back from lndia one of these days, June or July, she forgot which, for his
letters were awfully dull; it was his sayings one remembered; his eyes, his pocket-knife, his
smile, his grumpiness and, when millions of things had utterly vanished - how strange it was! a few sayings like this about cabbages.
[Virginia Woolf: Mrs Dalloway, ed. David Bradshaw, Oxford, New York: Oxford UP, p. 1].
Beschreiben und erliiutern Sie zentrale Formen der Rede- und Gedankenwiedergabe im
vorliegenden Textausschnitt !
2" Bestimmen
3.
und erliiutern Sie die hier vorherrschende Erz2ihlsituation und Erziihlperspektive!
Erliiutern Sie, inwieweit die zu beobachtenden Erziihlverfahren typisch fiir den modemen
Roman des fri.ihen 20. Jahrhunderts sind!
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Herbst 2008
Einzelpriifungsnumme
r 426!l
Seite 4
Thema Nr.3
Stanley Webber ist Gast im Boarding House von Petey und Meg. An Stanleys Geburtstag treffen zwei
weitere Giiste ein, Goldberg und McCann. Beide erkundigen sich nach Stanley und geben vor, eine
Geburtstagsparty fiir ihn ausrichten zu wollen. Als Goldberg, McCann und Stanley alleine sind, wird
die Unterhaltung zunehmend angespannter.
GoLoernc. Mr Webber, sit down a minute,
Srnrulrv. Let rne - just make this clear, You don't bother me. To me, you're nothing but a didy joke, But
I have a responsibility towards the people in this house. They've been down here too long. They've
lost their sense of smell. I haven't, And nobody's going to take advantage of them while I'm here,
,
A0
45
t1
Goloaenc. Mr Webber, sit down,
SrRrutry, lt's no good starting any kind of trouble.
GoloeeRc. Sit down.
Srnrulev. Why should l?
GoloeeRo. lf you want to know the truth, Webber, you're beginning to get on my breasts.
Srnruuv. Really? Wellthat's
GoloaEnc. Sit down.
SrRlrlrY, No.
-
(Goldberg srghs, and sifs af the table right.)
GoloarRc. McCann.
McCnlrru. Nat?
Goloeenc. Ask him to sit down,
McCnruru, Yes, Nat. (McCann moves'to Stanley.) Do you mind sitting down?
Srnrulrv, Yes, ldo mind.
McCnnru, Yes now, but
1O
-
it'd be better if you did,
STANLEv, Why don't you sit down?
McCnruru. No, not me
-
you.
Srnltrv.
No thanks.
Pause. [.,.]
Fortsetzung niichste Seite!
42611
Herbst 2008
2s
3
o
Seite 5
Goloeenc (crossrng to him) Webber. (Quietly ) SIT DOWN. (Sr/ence, SrRruley begins to whistle "The
Mountains of Morne", He sfro//s casually to the chair at the table. They watch him. He stops
whistling. S/ence, He sifs.,)
SrRrulry. You'd better be careful.
Goloarno. Webber, what were you doing yesterday?
Srnrulrv. Yesterday?
Goloarne . And the day before, What did you do the day before that?
SrRNley. What do you mean?
Gotoeenc. Why are you wasting everybody's time, Webber? Why are you getting in everybody's way?
-
SrRrulev. Me? What are you
Goloaenc, I'm telling you, Webber. You're a washout,l)Why are you getting on everybody's wick? Why
are you driving that old lady off her conk?z)
McCnruru. He likes to do it!
GoloseRo, Why do you behave so badly, Webber? Why do you force that old man out to play chess?
SrRruley, Me?
GoLoaeRe . Why do you treat that young lady like a leper? She's not the leper, Webber!
Srnrumy, What the
GolosrRc. What did you wear last week Webber? Where do you keep your suits?
McCnruru. Why did you leave the organization?
Goloeenc, What would your old mum say, Webber?
McCnruru. Why did you betray us?
GoLDBEne. You hurt me, Webber. You're playing a dirty game
35
t0
g5
-
McCnruru, That's a Black and Tan fact.e)
GoLogene. Who does he think he is?
McCnruru. Who do you think you are?
50
55
6
0
SrRrulry, You're on the wrong horse.
Goloeene . When did you come to this place?
SrRruley. Last year.
Goloeenc. Where did you come from?
SrRrulEY. Somewhere else.
Gotoernc, Why did you come here?
Srnumv. My feet hurtl
GotosrRe . Why did you stay?
SrRruley. I had a headache!
Gomeene . Did you take anything for it?
Srnrulev, Yes,
Gomerno. What?
Srnruley. Fruit salts!
Goloeeno. Enos or Andrews?
SrRrutry. En- AnGoLoeEnc, Did you stir properly? Did they fizz?
Now, now, wait, youGoloerne . Did they fzz? Did they fizz or didn't lhey fvz?
McCnruru. He doesn't know!
Goloeene , You don't know, When did you last have a bath?
SrRrutrv. I have one everyGomeene . Don't lie.
65 SrnruleY.
?
0
McCnruru. You behayed the organization. I know him!
Srnrutey. You don't!
Goloerne , What can you see without your glasses?
SrRuev, Anything.
Fortsetzung
nf,
chste Seite!
Herbst 2008
Einzelpri.ifungsnumme
r 42611
Seite 6
ffi Goloerne . Take off his glasses,
(McCaruru snafches his g/asses, and as Srnrumv riseg reaching for them, takes his chair downstage
centre, below the table, SrRrulev stumbling as he follows, SrRulry clutches the chair and stays bent
over
it.)
Webber, you're a fake, (They stand on each side of the chair.)
{from Harold Pinter, The Bifthday Paftyllnd ed., 1965; London: Faber& Faber, 19911, 45-49$
1) a washout = a total failure
2) offone's conk = crazy
3) Black and Tans = Royal lrish Constabulary Reserve Force, an lrish paramilitary group, acting against Sinn F6in and the
lM
i.
from 1920 and 1921
Charakterisieren Sie die Figuren und skizzieren Sie ihre Beziehung zueinander im Verlauf der
Szene!
2.
Erliiutern Sie die Funktion der Sprache in der Textpassage!
3.
Erliiutern Sie, wie non-verbale Elemente zur Verdichtung der Atmosphiire beitragen!
4.
Harold Pinter kommentierte seine Stticke einmal wie folgt: ,,I'd say that what goes on in my
plays is realistic, but what I'm doing is not realism."
Zeigen Sie, inwiefern dies auf die oben stehende Textpassage zutrifft, und situieren Sie Pinters
Sttick im Verh2iltnis zu anderen Dramen des 20. Jahrhunderts, die sich von einer realistischen
Darstellungsweise zumindest teilweise abwenden (2.B. Episches Drama) !