Herbst 2015 - Phil.

Priifungsteilnehmer
Priifungstermin
Einzelpriifungsnummer
Kennzahl:
Herbst
2015
Kennwort: - - - - - Arbeitsplatz-Nr.: _ _ __
62618
Erste Staatsprufung fur ein Lehramt an offentlichen Schulen
-
Prufungsaufgaben -
Fach:
Englisch (vertieft studiert)
Einzelpriifung:
Wissenschaftl. Klausur - Literaturw.
Anzahl der gestellten Themen (Aufgaben): 13
Anzahl der Druckseiten dieser Vorlage:
12
Bitte wenden!
Herbst 2015
Einzelpriifungsnummer 62618
ThemaNr.l
Roman als fiktives Selbstzeugnis
Erortem Sie an mindestens drei Beispielen Gestaltungsvarianten, Leistung und Grenzen
autobiographischen Erzahlens im englischen Roman des 18. und friihen 19. Jahrhunderts (his 1830)!
Gehen Sie dabei auf Authentisierungsstrategien ein, die das Erzahlte als Bekenntnisse, Memoiren oder
auch briefliche Selbstaussagen realer Personen erscheinen lassen sollen!
Stellen Sie die diskutierten Texte und Verfahren in gattungsgeschichtliche sowie allgemein literar-,
mentalitats- und kulturhistorische Entwicklungszusammenhange!
ThemaNr.2
1.
Analysieren Sie die Erzahlsituation der Textpassage! Sie konnen dabei aufunterschiedliche
Modelle der Erzahltextanalyse zurUckgreifen.
2.
Analysieren Sie die Szene in Bezug auf Dialoggestaltung und Figurencharakterisierung!
3.
ErHiutem Sie, in welchem VerhaItnis der Roman zur Literatur der Zeit steht!
4.
Interpretieren Sie die Textstelle im Hinblick aufzeitgenossische Diskurse uber die
Geschlechterrollen!
Text: Jane Austen: Northanger Abbey (1819), Vol. 2, ch.5
Die junge Catherine Morland ist unterwegs mit Henry Tilney. Ihr Ziel ist Northanger Abbey, der
Landsitz von dessen Familie.
He smiled, and said, "You have formed a very favourable idea of the abbey."
"To be sure, I have. Is not it a fine old place, just like what one reads about?"
"And are you prepared to encounter all the horrors that a building such as 'what one reads about' may
produce? Have you a stout heart? Nerves fit for sliding panels and tapestry?"
"Oh! yes - I do not think I should be easily frightened, because there would be so many people in the
house - and besides, it has never been uninhabited and left deserted for years, and then the family come
back to it unawares, without giving any notice, as generally happens."
''No, certainly. We shall not have to explore our way into a hall dimly lighted by the expiring embers
of a wood fire - nor be obliged to spread our beds on the floor of a room without windows, doors, or
furniture. But you must be aware that when a young lady is (by whatever means) introduced into a
dwelling of this kind, she is always lodged apart from the rest of the family. While they snugly repair
to their own end of the house, she is formally conducted by Dorothy, the ancient housekeeper, up a
different staircase, and along many gloomy passages, into an apartment never used since some cousin
or kin died in it about twenty years before. Can you stand such a ceremony as this? Will not your mind
misgive you when you fmd yourself in this gloomy chamber - too lofty and extensive for you, with
only the feeble rays of a single lamp to take in its size - its walls hung with tapestry exhibiting figures
as large as life, and the bed, of dark green stuff or purple velvet, presenting even a funereal
appearance? Will not your heart sink within you?"
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Seite 3
"Oh! But this will not happen to me, I am sure."
"How fearfully will you examine the furniture of your apartment! And what will you discern? Not
tables, toilettes, wardrobes, or drawers, but on one side perhaps the remains of a broken lute, on the
other a ponderous chest which no efforts can open, and over the fireplace the portrait of some
handsome warrior, whose features will so incomprehensibly strike you, that you will not be able to
withdraw your eyes from it. Dorothy, meanwhile, no less struck by your appearance, gazes on you in
great agitation, and drops a few unintelligible hints. To raise your spirits, moreover, she gives you
reason to suppose that the part of the abbey you inhabit is undoubtedly haunted, and informs you that
you will not have a single domestic within call. With this parting cordial she curtsies off - you listen to
the sound of her receding footsteps as long as the last echo can reach you - and when, with fainting
spirits, you attempt to fasten your door, you discover, with increased alarm, that it has no lock."
"Oh! Mr. Tilney, how frightful! This is just like a book! But it cannot really happen to me. I am sure
your housekeeper is not really Dorothy. Well, what then?"
"Nothing further to alarm perhaps may occur the first night. After surmounting your unconquerable
horror of the bed, you will retire to rest, and get a few hours' unquiet slumber. But on the second, or at
farthest the third night after your arrival, you will probably have a violent storm. Peals of thunder so
loud as to seem to shake the edifice to its foundation will roll round the neighbouring mountains - and
during the frightful gusts of wind which accompany it, you will probably think you discern (for your
lamp is not extinguished) one part of the hanging more violently agitated than the rest. Unable of
course to repress your curiosity in so favourable a moment for indulging it, you will instantly arise,
and throwing your dressing-gown around you, proceed to examine this mystery. After a very short
search, you will discover a division in the tapestry so artfully constructed as to defy the minutest
inspection, and on opening it, a door will immediately appear - which door, being only secured by
massy bars and a padlock, you will, after a few efforts, succeed in opening - and, with your lamp in
your hand, will pass through it into a small vaulted room. "
"No, indeed; I should be too much frightened to do any such thing."
"What! Not when Dorothy has given you to understand that there is a secret subterraneous
communication between your apartment and the chapel of St. Anthony, scarcely two miles off? Could
you shrink from so simple an adventure? No, no, you will proceed into this small vaulted room, and
through this into several others, without perceiving anything very remarkable in either. In one perhaps
there may be a dagger, in another a few drops of blood, and in a third the remains of some instrument
of torture; but there being nothing in all this out of the common way, and your lamp being nearly
exhausted, you will return towards your own apartment. In repassing through the small vaulted room,
however, your eyes will be attracted towards a large, old-fashioned cabinet of ebony and gold, which,
though narrowly examining the furniture before, you had passed unnoticed. Impelled by an irresistible
presentiment, you will eagerly advance to it, unlock its folding doors, and search into every drawer but for some time without discovering anything of importance - perhaps nothing but a considerable
hoard of diamonds. At last, however, by touching a secret spring~ an inner compartment will open - a
roll of paper appears - you seize it - it contains many sheets of manuscript - you hasten with the
precious treasure into your own chamber, but scarcely have you been able to decipher 'Oh! Thou whomsoever thou mayst be, into whose hands these memoirs of the wretched Matilda may fall' - when
your lamp suddenly expires in the socket, and leaves you in total darkness."
"Oh! No, no - do not say so. Well, go on."
But Henry was too much amused by the interest he had raised to be able to carry it farther; he could no
longer command solemnity either of subject or voice, and was obliged to entreat her to use her own
fancy in the perusal of Matilda's woes. Catherine, recollecting herself, grew ashamed of her eagerness,
and began earnestly to assure him that her attention had been fixed without the smallest apprehension
of really meeting with what he related. "Miss Tilney, she was sure, would never put her into such a
chamber as he had described! She was not at all afraid."
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As they drew near the end of their journey, her impatience for a sight of the abbey - for some time
suspended by his conversation on subjects very different - returned in full force, and every bend in the
road was expected with solemn awe to afford a glimpse of its massy walls of grey stone, rising amidst
a grove of ancient oaks, with the last beams of the sun playing in beautiful splendour on its high
Gothic windows. But so low did the building stand, that she found herself passing through the great
gates of the lodge into the very grounds of Northanger, without having discerned even an antique
chimney.
She knew not that she had any right to be surprised, but there was a something in this mode of
approach which she certainly had not expected. To pass between lodges of a modem appearance, to
find herself with such ease in the very precincts of the abbey, and driven so rapidly along a smooth,
level road of fine gravel, without obstacle, alarm, or solemnity of any kind, struck her as odd and
inconsistent. She was not long at leisure, however, for such considerations. A sudden scud of rain,
driving full in her face, made it impossible for her to observe anything further, and fixed all her
thoughts on the welfare of her new straw bonnet; and she was actually under the abbey walls, was
springing, with Henry's assistance, from the carriage, was beneath the shelter of the old porch, and had
even passed on to the hall, where her friend and the general were waiting to welcome her, without
feeling one awful foreboding of future misery to herself, or one moment's suspicion of any past scenes
of horror being acted within the solemn edifice. The breeze had not seemed to waft the sighs of the
murdered to her; it had wafted nothing worse than a thick mizzling rain; and having given a good
shake to her habit, she was ready to be shown into the common drawing-room, and capable of
considering where she was.
An abbey! Yes, it was delightful to be really in an abbey! But she doubted, as she looked round the
room, whether anything within her observation would have given her the consciousness. The furniture
was in all the profusion and elegance of modem taste. The fireplace, where she had expected the ample
width and ponderous carving of former times, was contracted to a Rumford, with slabs of plain though
handsome marble, and ornaments over it of the prettiest English china. The windows, to which she
looked with peculiar dependence, from having heard the general talk of his preserving them in their
Gothic form with reverential care, were yet less what her fancy had portrayed. To be sure, the pointed
arch was preserved - the form of them was Gothic - they might be even casements - but every pane
was so large, so clear, so light! To an imagination which had hoped for the smallest divisions, and the
heaviest stone-work, for painted glass, dirt, and cobwebs, the difference was very distressing.
ThemaNr.3
Helden spielen in der Fantasy-Literatur traditionell eine groBe RoUe. Erortern Sie mindestens zwei
verschiedene Konzeptionen von Helden bzw. Heldentum anhand mindestens dreier Werke
(unterschiedlicher Autoren) der Fantasy-Literatur des 20.121. lahrhunderts!
Thema Nr. 4
Diskutieren Sie die Darstellung und Funktion von Liebesbeziehungen in Shakespeares Dramen! Gehen
Sie dabei insbesondere auf den kulturhistorischen Wandel und die soziokulturellen Speziftka von
Liebeskonzepten ein! Wahlen Sie als Grundlage mindestens drei Shakespeare-Texte aus mindestens
zwei unterschiedlichen dramatischen Subgenres!
-5-
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Einzelpriifungsnummer 62618
Seite 5
ThemaNr.5
Caryl Churchill, Top Girls (1982), Act One.
Isabella So what happened?
Joan 0 didn't know of course that it was near the time. It was Rogation Day, there was always a
procession. I was on the horse dressed in my robes and a cross was carried in front of me, and all the
cardinals were following, and all the clergy of Rome, and a huge crowd of people. / We set off from
Marlene Total Pope.
Joan St Peter's to St John's- I had felt a slight pain earlier, I thought it was something I'd eaten, and
then it came back, and came back more often. I thought when this is over I'll go back to bed. There
were still long gaps when I felt perfectly alright again and I didn't want to attract attention to myself
and spoil the ceremony. Then I suddenly realized what it must be. [ ... ] Great waves of pressure were
going through my body, I heard sounds like a cow lowing, they came out of my mouth. Far away I
heard people screaming, 'The Pope is ill, the Pope is dying.' And the baby just slid out onto the road.
Marlene The cardinals/won't have known where to put themselves.
Nijo Oh dear, Joan, what a thing to do! In the street!
Isabella *How embarrassing.
Gret In a field, yah.
They are laughing.
Joan One of the cardinals said, 'The Antichrist!' and fell over in a faint.
They all laugh.
Marlene So what did they do? They weren't best pleased.
Joan They took me by the feet and dragged me out of town and stoned me to death.
They stop laughing.
Marlene Joan, how horrible.
Joan I don't really remember.
Nijo And the child died too?
Joan Oh yes, I think so, yes.
Pause.
(in Plays ofthe '80s and '90s, hg. vom G. Whybrow. Methuen Drama, 2001, p. 22-23)
1.
Analysieren Sie die vorliegende Szene in Bezug auf Figurencharakterisierung, Dialogfiihrung
und Informationsvergabe! Gehen Sie dabei auf den Zusammenhang von Sprache und Identitiit
ein, sowie auf die Techniken der Redeverteilung!
2.
Arbeiten Sie heraus, wie in dieser Szene und im ganzen StUck die Rolle der Frau in patriarchalen
Gesellschaften thematisiert wird!
3.
Kontextualisieren Sie Ihre Ergebnisse mit Bezug auf die Thatcher-Am in England und die
feministische Emanzipationsbewegung; beziehen Sie sich dabei auf mindestens zwei weitere
Dramen!
-6-
Herbst 2015
EinzelpIiifungsnummer 62618
Thema Nr. 6
Ben Jonson, "To Penshurst" (ca. 1616)
Penshurst war das Landgut der Sidney-Familie, zur Zeit der Entstehung des Gedichts im Besitz von
Robert Sidney, Ganner Ben Jonsons und jiingerer Bruder des Dichters Philip Sidney. "To Penshurst"
ist eines der ersten englischen countryhouse poems.
Thou art not, Penshurst, built to envious show
Oftouch* or marble, nor canst boast a row
Of polished pillars, or a roof of gold;
Thou hast no lantern whereof tales are told,
Or stair, or courts; but stand'st an ancient pile,
And these grudged at, art reverenced the while.
Thou joy' st in better marks, of soil, of air,
Of wood, of water; therein thou art fair.
Thou hast thy walks for health as well as sport:
Thy Mount, to which the dryads* do resort,
Where Pan and Bacchus their high feasts have made,
Beneath the broad beech and the chestnut shade;
That taller tree, which of a nut was set
At his great birth, where all the muses met. *
* touch: Feuerstein
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10
* gemeint ist der Dichter
[... ]
The painted partridge lies in every field,
And for thy mess* is willing to be killed.
And if the high-swoll'n Medway fail thy dish,
Thou hast thy ponds that pay thee tribute fish:
Fat, aged carps, that run into thy net;
And pikes, now weary their own kind to eat,
As loath the second draught or cast to stay,
Officiously, at first, themselves betray;
Bright eels, that emulate them, and leap on land
Before the fisher, or into his hand.
Then hath thy orchard fruit, thy garden flowers,
Fresh as the air and new as are the hours:
The early cherry, with the later plum,
Fig, grape and quince, each in his time doth come;
The blushing apricot and woolly peach
Hang on thy walls, that every child may reach.
And though thy walls be of the country stone,
They're reared with no man's ruin, no man's groan;
There's none that dwell about them wish them down,
But all come in, the farmer and the clown, *
And no one empty-handed, to salute
Thy lord and lady, though they have no suit.
Some bring a capon, * some a rural cake,
Some nuts, some apples; some that think they make
* dryads: Baumgeister
Philip Sidney
30
* mess: Mahlzeit
35
40
45
* clown: (bier) Landbewohner
50
* capon: Kapaun (kastrierter
Hahn)
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The better cheeses, bring 'em, or else send
By their ripe daughters, whom they would commend
This way to husbands; and whose baskets bear
An emblem of themselves, in plum or pear.
But what can this (more than express their love)
Add to thy free provisions, far above
The need of such? whose liberal board doth flow
With all that hospitality doth know!
Where comes no guest but is allowed to eat
Without his fear, and of thy lord's own meat;
Where the same beer and bread and selfsame wine
That is his lordship's shall be also mine;
And I not fain to sit, as some this day
At great men's tables, and yet dine away.
Here no man tells* my cups, nor, standing by,
A waiter, doth my gluttony envy,
But gives me what I call, and lets me eat;
He knows below he shall find plenty of meat,
Thy tables hoard not up for the next day.
Nor, when I take my lodging, need I pray
For fire or lights or livery; all is there,
As if thou then wert mine, or I reigned here;
There's nothing I can wish, for which I stay.*
That found King James, * when, hunting late this way
With his brave son, the Prince, they saw thy fires
Shine bright on every hearth as the desires
Of thy Penates* had been set on flame
To entertain them; or the country came
With all their zeal to warm their welcome here.
What (great, I will not say, but) sudden cheer
Didst thou then make' em! and what praise was heaped
On thy good lady then! who therein reaped
The just reward of her high housewifery:
To have her linen, plate, and all things nigh
When she was far; and not a room but dressed
As if it had expected such a guest!
These, Penshurst, are thy praise, and yet not all.
Thy lady's noble, fruitful, chaste withal;
His children thy great lord may call his own,
A fortune in this age but rarely known.
They are and have been taught religion; thence
Their gentler spirits have sucked innocence.
Each mom and even they are taught to pray
With the whole household, and may every day
Read in their virtuous parents' noble parts
The mysteries* of manners, arms and arts.
Now, Penshurst, they that will proportion* thee
With other edifices, when they see
Those proud, ambitious heaps, and nothing else,
May say, their lords have built, but thy lord dwells.
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60
65
* tells: zahlt
70
75
80
* stay: warte
* James I.
* Penates: romische
Gotter von HeimlHerd
85
90
95
* mysteries: Fertigkeiten
* proportion: vergleichen
100
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Text: Ben Jonson, "To Penshurst", Ben Jonson, ed. Ian Donaldson, Oxford: Oxford University Press,
1995.66-69.
1.
Analysieren Sie das Gedicht in fonnaler und stilistischer Hinsicht; erlautem Sie die Struktur
sowie den rhetorischen Aufbau! Nehmen Sie auch Bezug auf die Funktion mythologischer
Elemente sowie des Architektur-Natur-Vergleichs!
2.
Beschreiben Sie die Funktionen des Gedichts im Kontext des Patronage-VerhaItnisses
zwischen Dichter und aristokratischem Gonner und berUcksichtigen Sie auch die weiteren hier
reprasentierten hierarchischen VerhaItnisse (King James I.; Ehefrau, Kinder, Pachter und
Lehensleute) !
3.
Situieren Sie das Gedicht im literaturhistorischen Kontext und nehmen Sie dazu auch Bezug
auf ein bis zwei weitere vergleichbare Texte!
Thema Nr. 7
Das 19. Jahrhundert gilt einerseits als das Zeitalter des Fortschritts, andererseits ist es jedoch auch als
eine Epoche fortschreitenden Glaubensverlusts in die Geschichte eingegangen. Die damit verbundenen
Spannungen fiihrten unter anderem dazu, dass sich Autorinnen und Autoren vielfach der
Vergangenheit als QueUe frischer Inspiration zuwandten.
Diskutieren Sie anhand ausgewahlter Gedichte von mindestens drei Dichterinnen bzw. Dichtem die
Hinwendung zur Vergangenheit in der englischen Lyrik des 19. Jahrhunderts!
Thema Nr. 8
1.
Analysieren Sie die erzahlerischen, sprachlichen und stilistischen Mittel der Passage!
2.
Situieren Sie Edgar Allan Poes Erzahlwerk im Kontext der amerikanischen Romantik und
skizzieren Sie seine Bedeutung fUr die amerikanische Kurzgeschichte!
3.
Diskutieren Sie mit Bezug auf zwei weitere Autorinnen und Autoren aus der ersten Halfte des
19. Jahrhunderts das Motiv der Gewalt und seine kultureUen Funktionen in der amerikanischen
Literatur!
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Seite 9
Textausschnitt: Egar Allan Poe. "The Tell-Tale Heart." In: Kennedy, X. J./Gioia, Dana.
Literature: An Introduction to Fiction, Poetry, and Drama. New York: Longman, 1999.34-35.
True!-nervous-very, very dreadfully nervous I had been and am; but why
wiU you say that I ~ mad? The disease had sharpened my senses-not de#
stroyed-not dulled them. Above all was the sense of hearing acute. I heard all
things in the heaven and in the earth. I heard many things in·hell. How, then;
am I mad? H~ken! and observe how healthily-how calmiy I can tell you the
whole story. .
.
It is impossible to say how first the idea entered my brain; but once con#
ceived, it haunted me day and night. Object there was none. Passion there was
none. I loved the old man. He had never wronged me~ He· had never given me
insult. For his gold I had no desire. I think it was his eye! yes, it was this!· One of
his eyes resembled that of a vulrure-a pale blue eye, with a· film over it. When'
ever it fell upon me, my blood ran cold; and so by degrees-very gradually-I
made up my mind to take the life of the old man, and thus rid myself of the eye
for ever.
Now this is the point. You fancy me mad. Madmen know nothing. But you
should have seen me. You should have seen how wisely I proceeded-with what
caution-with what foresight-with what dissimulation I went to work! I was
never kinder to the old man than during the whole week before I killed him.
And every night, about midnight, I turned the latch of his door and opened itoh, so gendy! And then, when I had made an opening sufficient for my head, I
.-r'
put in a dark lantern, all closed, closed,'so that no light shone out, and then I
thrust in Il,ly-head. Oh, you would-have laughed to see how cunningly I thrust it
in! I moved·it slowly-very, very slowly, so that I might not disturb the oM
man's sleep~ it took me an hour to place my whole head within the opening so
far that I could see him as he lay upon his bed. Ha!-would a madman have been
so wise as this? And then, when my head was well in the room, I undid the
~tern cautiously--oh, so cautiously--cautiously {for· the hinges creaked)-l
~djd it just so much that a single thin ray fell upon the vulture eye. And this I
did for sevetllong nights-every night just at midnight-.but I found the eye· al#
ways closed; and so it ~ impossible to do the work; for it was not the old man •
who vexed me, but his Evil Eye. And every morniIig, when the day broke, I wentboldly into the chamber, and spoke courageously to him, calling him by name in
a hearty tone, and inquiring how he had passed the night. So you see he would
have been a very profound old man, indeed,to suspect that ~very night, jUst at
twelve, I looked in upon him while he slept.
Upon the eighth night I was more than usually. cautious in opening the
door. A watch's minute hand moves more quickly than did mine. Never before.
that rtight had I felt the extent of my own powerg.,...-of my sagacity. I could
scarcely conrain my feelings of triumph. To think that there I was, opening the
door, little by litde, and he not even to dream of my secret deeds or thoughts. I
fairly chuckled at the idea; and perhaps he heard me; for he moved on the bed
suddenly, as if starded.. Now you may think that 1 drew back-.but no. His room
was as black as pitch with the thick darkness (for the shutters were close fas.tened, through fear of robbers), and so 1 knew that he could not see the opening
of the door, and I kept puShing it on steadily, steadily.
I had my head in, and was about to open the lantern, when my thumb
slipped upon the tin fasterUng, and the old man sprang up in the bed, crying
out-"Who's there?"
-10 -
Herbst 2015
62618
Thema Nr. 9
Geschlechterrollen im amerikanischen Roman urn die 'Yende vo~ 19. zum 20 ..J~h~dert:
Kulturgeschichtliche Situation und literarische Verarbeltung an mmdestens drel Belsplelen
Thema Nr.l0
Quiet as it's kept, there were no marigolds in the fall of 1941. We thought, at the time, that it
was because Pec-ola was having her father's baby that the marigolds did not grow. A little
examination and much less melancholy would have proved to us that our seeds were not the
only ones that did not sprout; nobody's did Not even the gardens fronting the lake showed
marigolds that year. But so deeply concerned were we with the health and sqfe delivery of
Pecola's baby we could think of nothing but our own magic: ifwe planted the seeds, and said
the right words over them, they would blossom, and everything would he all right.
It was a long time before my sister and I admitted to ourselves that no green was
going to spring from our seeds. Once we knew, our guilt was relieved only by fights and
mutual accusations about who was to blame. For years I thought my sister was right: it was
my fault. I had planted them tOo far down in the earth It never occurred to either of us that
the earth itself might have been unyielding. We had dropped our seeds in our own little plot of
black dirt jUst as Pecola 's father has dropped his seeds in his own plot of black dirt. Our
innocence and faith were no more productive than his lust or despair. What is clear now is
that of all of that hope, fear, lust, love, and grief, nothing remains but Pecola and the
UlT)'ielding earth Cholly Breedlove is dead; our innocence too. The seeds shrivelled and died;
her baby too.
There is really nothing more to say - except why. But sinc~ why is difficult to handle,
one must take refuge in how.
- Toni Morrison, The Bluest Eye (1969; NY: Washington Square Press, 1970) 9.
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Interpretationsaufgabe (zur Eingangspassage von Toni Morrisons Roman The Bluest Eye):
1.
Analysieren Sie diese dem ersten Roman der afroamerikanischen Literaturnobelpreistragerin
von 1993, Toni Morrison, vorangestellte Passage! Beachten Sie dabei insbesondere die
Symbolik sowie die Gestaltung der Erzahlperspektive!
2.
Erlautem Sie, wie diese Eingangspassage den Roman eroffilet: Was sagt sie iiber das
VerhaItnis von Individuum und Gesellschaft, wie spricht sie iiber den sexuellen Dbergriff
Cholly Bredloves auf seine Tochter Pecola und welche Funktion weist sie der Literatur in
diesem Zusammenhang zu?
3.
Ordnen Sie den Roman anschlieBend in den Gesamtzusammenhang der multiethnischen
Literaturen der USA in der zweiten HaIfte des 20. Jahrhunderts, insbesondere der
afroamerikanischen Gegenwartsliteratur ein: was sind deren sozialpolitische
Rahmenbedingungen und literarische Ankniipfungspunkte?
Thema Nr.ll
Text: Walt Whitman, "When I heard the Leam'd Astronomer." 1865. Leaves o/Grass and Other
Writings: Authoritative Texts, Other Poetry and Prose, Criticism. A Norton Critical Edition. Ed.
Michael Moon. New York: Norton, 2002. 227. Print.
Walt Whitman
When I Heard the Learn'd Astronomer
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10
When I heard the leam'd astronomer,
When the proofs, the figures, were ranged in columns before me,
When I was shown the charts and diagrams, to add,divide, and
measure them,
When I sitting heard the astronomer where he lectured with much
applause in the lecture-room,
How soon unaccountable I became tired and sick,
Till rising and gliding out I wander'd offby myself,
In the mystical moist night-air, and from time to time,
Look'd up in perfect silence at the stars.
Fortsetzung nachste Seite!
Herbst 2015
EinzelpIiifungsnummer 62618
Seite 12
Bei dem Text handelt es sich urn em Gedicht, das zuerst als Teil des Gedichtzyklus DrumTaps erschien und 1867 in Leaves of Grass integriert wurde.
1.
Identifizieren Sie die Sprechsituation des Gedichts und analysieren Sie ihre Funktion! Welche
Beziehung entsteht zwischen dem Sprecher und dem yortragenden Wissenschaftler? Welche
RoUe spielt hier die nicht-menschliche Natur?
2.
Welche Bedeutungseffekte werden durch die formalen Merkmale des Gedichts und durch die
yerwendeten stilistischen Mittel erzeugt?
3.
Ordnen Sie das Gedicht literatur- und kulturgeschichtlich ein, insbesondere in Bezug auf die
amerikanische Romantik und die Auseinandersetzung mit der Industrialisierung, der
Entwicklung der Naturwissenschaften und dem amerikanischen Biirgerkrieg!
Thema Nr.12
1.
Was yersteht man unter dem "Theater of the Absurd" und wie ist es zeitlich einzuordnen?
2.
Geben Sie einen Uberblick iiber wichtige Vertreter und deren Hauptwerke!
3.
Gehen Sie auf ein Werk detaillierter ein und diskutieren sie daran exemplarisch die besonderen
formal-asthetischen und inhaltlichen Merkmale dieser Richtung!
Thema Nr.13
Das yon Paul Gilroy 1993 yorgesteUte Konzept des "Black Atlantic" lasst eine ganze Reihe yon
Werken in unterschiedlichen Gattungen in einem neuen Licht erscheinen.
Beschreiben Sie Gilroys VorsteUungen und diskutieren Sie seine Konzeption am Beispiel yon
wenigstens drei literarischen Texten aus unterschiedlichen englischsprachigen Regionen! Gehen Sie
dabei auch auf regionale Beziige und auf die formalen Merkmale der angesprochenen Beispieltexte
ein!