Friihjahr - Phil.

Priifungstermin
Prtifungsteilnehmer
Einzelpriifu
n
gsnumm er
Kennzahl:
Friihjahr
Kennwort:
62618
20lt
Arbeitsplatz-Nr.:
Erste Staatsprtifung ftir ein Lehramt an iiffentlichen Schulen
Fach:
Priifungsaufgaben
Englisch (vertieft studiert)
Einzelprtifung: Wissenschaftl.Klausur'Literaturw.
Anzahlder gestellten Themen (Aufgaben): 13
Anzahl der Druckseiten dieser
Vorlage:
16
Bitte wenden!
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Friihjahr 2011
Einzelpriifu ngsnummer 62618
Thema Nr.
Seite 2
1
L
Beschreiben Sie die Bildlichkeit im vorliegenden Romanausschnitt!
2
Analysieren Sie die Gestaltung der Erziihlperspektive! Greifen Sie dabei auf wenigstens eine
der von FraruK. Stanzel, von Wayne C. Booth oder von G6rard Genette vorgestellten
erzlihltheoretischen Typologien zuriick und veranschaulichen Sie diese am Text!
J
Charakterisieren Sie, ausgehend von dieser Textpassage, die Stellung von Henry Fiedling in der
Geschichte des englischen Romans in Hinsicht auf seine Vorliiufer, Zeitgenossen und auf die
weitere Entwicklung der Gattung! Beriicksichtigen Sie bei Ihren Ausfiihrungen auch die
Stellung des Autors im Kontext des Neoklassi2ismus!
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3
BOOK XVIII
CONTAINING ABOUT SIX DAYS
CHAPTER 1
A Farewel to the Reader
5
t
O
We are now, reader, arrived at the last stage of our long journey. As we have therefore travelled
together through so many pages, let us behave to one another like fellow-travellers in a stage-coach,
who have passed several days in the company of each other; and who, notwithstanding any bickerings
or little animosities which may have occurred on the road, generally make all up at last, and mount,
for the last time, into their vehicle with chearfulness and good-humour; since, after this one stage, it
may possibly happen to us, as it commonly happens to them, never to meet more.
As I have here taken up this simile, give me leave to carry it a little farther. I intend, then, in this
last book, to imitate the good company I have mentioned in their last journey. Now it is well known
that all jokes and raillery are atthis time laid aside; whatever characters any of the passengers have
for the jest-sake personated on the road, are now thrown off, and the conversation is usually plain and
serious.
In the same manner,
45
if I have now and then, in the course of this work, indulged any pleasaritry for
thy entertainment, I shall here lay it down. The variety of matter, indeed, which I shall be obliged to
cram into this book, will afford no room for any of those ludicrous observations which I have
elsewhere made, and which may sometimes perhaps, have prevented thee from taking a nap when it
was beginning to steal upon thee. In this last book thou wilt find nothing (or at most very little) of that
nature. All will be plain narrative only; and, indeed, when thou hast perused the many gteat events
which this book will produce, thou wilt think the number of pages contained in it, scarce sufficient to
tell the story.
Z0
ZS
3o
And now, my friend, I take this opportunity (as I shall have no other) of heartily wishing thee well.
If I have been an entertaining companion to thee, I promise thee it is what I have desired. If in
anything I have offended, it was really without any intention. Some things perhaps here said, may
have hit thee or thy friends; but I do most solemnly declare they were not pointed at them' I question
not but thou hast been told, among other stories of me, that thou wast to travel with a very scurrilous
fellow: but whoever told thee so, did me an injury. No man detests and despises scunility more than
myself; nor hath any man more reason; for none hath ever been treated with more: and what is a very
severe fate, I have had some of the abusive writings of those very men fathered upon me, who, in
other of their works, have abused me themselves with the utmost virulence.
All these works, however, I am well convinced, will be dead long before this page shall offer itself
to thy perusal; for however short the period may be of my own performances, they will most probably
outlive their own infirm author, and the weakly productions of his abusive contemporaries.
Henry Fielding, The History of Tom fones, a Foundling. 1749. Book XVItr, Chapter I
Ed. R.P.C. Mutter. Harmondsworth: Penguin Books, 1966, repr. 1986. 813-14'
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Frtihjahr 2011
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Seite 4
Thema Nr. 2
Diskutieren Sie die besondere Leistung von Romanautorinnen im 19. Jahrhundert vor dem
Hintergrund der sozialen, historischen und kulturellen Entwicklungen! Welche Funktion konnten
Romane von Frauen in dieser Zeitbesetzen und welche Erziihltechniken wurden dazu entwickelt?
Wiihlen Sie mindestens drei Romane von nicht weniger als zwei Autorinnen!
Thema Nr.3
Erliiutern Sie inhaltliche und formale Kennzeichen und Funktionen der literarischen Postmoderne an
mindestens drei Beispielen Ihrer Wahl!
Thema Nr.4
In der 2. Szene des 3. Aktes von Shakespeares Richard II reagiert der Konig folgendermaBen auf den
Vorhalt, er begegne Bolingbroke, der aus seiner Verbannungvorzeitig und unerlaubt zuriickgekehrt ist
und sich mit Truppen nZihert, zulax und zdgerlich:
KING RICHARD Discomfortableo cousin, know'st
That when the searching eye of heaven is hid
Behind the globe, that lights the lo\a,er M,orld,
i5
thou not
Disheartetting
Then thieves and robbers range abroad unseen
In murders and in outrage bloody here;
40
45
50
But u,hen from under this terreshial ball
He 6res" the proud tops of the eastern pines,
And darts his light through every guilty hole,
Then murders, treasons, and detested sins,
The cloak of night being plucked from offtheir backs,
Stand bare and naked, trembling at tlremselves?'
So q'hen this thief, this haitor, Bolingbroke,
Who all this u,hile hath revellbd in the,night
Whilst \ re were u,and'ring u'ith ihe Antipodes,
Shall see us rising in our throne, the east,
His treasons will sit blushing in his face,
Not able to endure the sight of day,
But, self-affrighted, tremble at his sin. '.
Not all the rvater in the rough rude sea,, ,
Can u'ash the balm" from an anointed king,
The breath of worldly men cannoi depose
The deputy elected b)'the Lord.
For every man that Bolin$broke haih prbssed"
'Iights up
oil
of corzsecratlon
:
5t
To Iift shrewdo steel against our golden crown,
God for his Richard hath in heavenly pay '
A glorious angel. Then if angels fight,
Weak men must fall; for heaven still" guards the right.
drafted
wicked; sharp
aLwal,s
Fortsetzung niichste Seite!
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62618
Friihjahr 2011
Als er wenig spiiter erftihrt, dass drei seiner Unterstiitzer zu Bolingbroke i.ibergelaufen sind,
ergibt sich jedoch folgender Wortwechsel:
l2t
ll0
i40
t45
r50
t5t
160
Wfiiii
.
".ry{.{ittlu'
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riJ"{ii:iit'
..:
RIcHARD O villains, vipers damned without redemption!
Dogs easily won to fawn on anY manl
Snikes in my heart-blood warmed, that sting my heart!
Three Judases, each one thrice-worse than-)udas!
"
Would they make peace? Terrible hell make war
Upon theii spottedb souls for this offence!
scnops Sweei loue, I see, changing his property,'
Turns to the sourest and most deadly hate.
Again uncurse their souls..Their Peace is made ' '
With heads, and not \^'ith hands. Those whom you curse
Have felt the worst of death's destroying wound,
And lie full iow, graved in the hollow 6ro9-!d:
AUMERLE Is Bush/, Green, and the Earl of Wiltshire dead?
scRopE Ay, all of'them at Bristol lost their heads.
;il;;"u '\44,.r. is the Duke my father, with his power?
KING RICHARD No matter u'here' Of comfort no man speak'
Let's talk of graves, of u'orms and epitaphs,
Make dust our paper, and with rainy eyes
Write sorrow on the bosotn of the earth.
Let's choose executors and talk of willsAnd yet not so, for what can rve bequeath
Save'our deposEd" bodies io the ground? Our lands, our lives, and all are Bolingbroke's;
And nothing can we call our own but death,
And that s#all model o[the barren earth
Wrich serves as paste and cover to our bones.
lsittingl For God's sake, let us sit upon the ground,
Ana telt sad stories of the death of kingsHow some have been deposed, some slain in war,
Some haunted by the ghosts they have deposed,
Some poisoned by their wives, some sleeping killed,
All mrirdered. For within the hollow crown
That rounds'the mortal ternples of a king
Keeps Deaih his court; and there the antic'sits,
Scoffing his state and grinning at his pomp,
AJlowing him a breath, a littie scene,
To monirchize,o be feared, and kill with looks,
Infusing him with self and vain conceit,
As if this f esh \",hich wails about our iife
Were brass impregnable; and humoured thus,
Comes at the Lst, and with a litde Pin
Bores through his castle wall and farewell,,king'
"heads,
and mock not flesh and blood
bou", yo,,tt
Throw away respect,
reverence.
solemn
With
Tradition, form, and ceremonious dugr
For you have but mistook me all this while'
I live with bread, like You; feel want,
Taste grief, need friends. Subiected thus,
How c-an you say to me I am a king?
KING
blernislrcd
its
quali\,
detlvotted; prostrate
encircles
iester
PIq'tle
ntonarclt
New York' 1997 982,984-5)
'
(Text: Stephen Greenblatt led.), The Norton shakespeare'
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Einzelpriifungsnumme r 62618
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Analysieren und erliiutern Sie Schritt fiir Schritt Richards Reden in ihrer Rhetorik und
Bildlichkeit!
2
Durch seine Reden - ihren Inhalt und ihre'Art - charakterisiert Richard sich seibst. Welche
Schliisse lassen beide Reden auf seine Personlichkeit und seine Geeignetheit als Konig zu?
J
Diskutieren Sie vor dem Hintergrund des elisabethanischen Weltbildes und der herrschenden
Ideologie das staatsphilosophische und politische Dilemma eines unf?ihigen und verbrecherischen Kdnigsl Worin lag die Brisanz dieses Stiickes und seiner Thematik fiir die Herrschaft
Elizabeths I?
4
Situieren Sie Shakespeare in der (englischen) Geschichte literarisch-dramatischer Thematisierung von weltlicher Macht!
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Einzelprtifu ngsnunme r 62 618
Seite 7
Thema Nr. 5
In einer jtingeren Geschichte der englischen Literatur findet sich folgendes Zitx'.
was assumed at the time, and it continues to be assumed, that John Osborne's Look
Back in Anger, which opened at the Royal Court Theatre in London on 8 May 1956,
marked either a 'revolution' or a 'watershed' in the history of modern British theatre. The
play certainly shocked its first audiences, as well as some of its more perceptive critics,
into responsive attention. It is also sometimes claimed that the play single-handedly
provoked theatre managers and theatre companies out of their complacent faith in the
middle-class virtues of 'the well-made play' and into a response to a new kind of drama
which grappled with 'the issues of the day'. Osborne's play was revolutionary neither in
its form nor in its politics; it was, however, by the standards of its time, alarming in its
rancour, its language, and its setting.
It
(Andrew Sanders, The Short Oxford Htstory of Enghsh Literature, Oxford: Clarendon Press,
1994,585-586)
Diskutieren Sie das in der Textpassage angesprochene Verhiiltnis zwischen Tradition und Innovation
in der Entwicklung des englischen Dramas und Theaters im 20. Jahrhundert an mindestens drei
Beispielen eigener Wahl! Gehen Sie dabei sowohl auf thematische Beztige als auch auf dramatische
Priisentationsformen ein !
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Friihjahr 201l
Einzelpriifu ngsnumme r 62618
Thema
Seite 8
l{r.6
I am a little world made cunningly
Of elements, and an angelic sprite;
But black sin hath betrayed to endless night
My world's both parts, and O, both parts must die.
You which beyond that heaven which was most high
Have found new spheres, and of new lands can write,
Pour new seas in mine eyes, that so I might
Drown my world with my weeping earnestly,
Or wash it, if it must be drowned no more.
But O, it must be burnt! Alas, the fire
Of lust and envy have burnt it heretofore,
And made it fouler; let their flames retire,
And burn me, O Lord, with a frery zeal
Of thee and thy house, which doth in eating heal.
spirit, soul
Genesis 9.1I: God
promised Noah never
toflood the earth again.
John Donne, Holy Sonnefs, No. 5.
The Norton Anthology of English Literature. T.
Aufl., hg, M.H. Abrams und Stephen
Greenblatt. New York: Norton, 2000. I, 1268-69.
Bestimmen Sie die Gattung des vorliegenden Gedichts! Analysieren Sie den Umgang mit
Gattungskonventionen und die verwendeten Stilmittel im Gedichtzusammenhan.'l
2
Erl2iutern Sie kurz den Argumentationsgang des lyrischen Ichs!
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a
Inwiefern beriihrt das Gedicht Themenbereiche uird Kontexte wie Religion, wissenschaftliches
Weltbild und Aufbruch zu neuen Welten in einer Epoche des Wandels?
4.
Diskutieren Sie, ausgehend von diesem Gedicht, die Stellung von John Donne innerhalb der
Liebesdichtung der Epoche! Gehen Sie dabei auf seine Vorliiufer, seine Zeitgenossen und auf
die spiitere Rezeption seiner Dichtung ein!
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Frtihjahr 2011
Seite 9
Thema Nr. 7
Analysieren Sie den beiliegenden Text unter Benicksichtigung folgender Fragestellungen:
1
Mit Hilfe welcher sprachlich-rhetorischen Mittel und poetischen Strukturen bzw. Formen wird
(der GroBraum) London in diesem Gedicht dargesteilt?
2.
3
Welche Perspektiven nimmt der Sprecher zu seinen Gegenstandsbereichen ein und welche
Funktionen haben diese Perspektiven bzw. welche Wirkungen entstehen hieraus?
Wie passt das Gedicht in den Kontext jener (neuen) Themen und poetischen Merkmale, welche
insgesamt aus der Sicht der Literaturgeschichtsschreibung charakteristisch sind?
fiir Wordsworth und fiir die romantische Lyrik
WulrAlvt Wonoswonrn
So|$rers
Composed upon Westminster Bridge,
Septembet 3, r8ozl
.. - ;:
Earth has not any thing to show more fair:
Dull would he be of sor-il who could pass by
A sight so touching in ib majesty:
This City now doth, like a garment, wear
The beauty of,the morning; silen! bare,. ,
Ships, towen, domes, theahes, and templEs lie
Opet unto the fie]ds, and to the rky;
AII bright and glittering in the smokeless air.
Never did sun.more beautifully steep
In his first spJendour, valley, rock" or hill;
Ne'er saw I, never felt, a calm so deep!
The river glideth at his own sweet will
Dear God! the very houses ieem asleep;
And aII *rat mighty heart is lying still!
i8oz
5
l0
r8o7
Abrams, M.H. (ed). The Norton Anthology of English Literature. New York:
Norton, 51946. z1g.
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Einzelpr0fungsnummer 62618
Seite 10
Thema Nr. 8
i
Analysieren Sie die erziihlerischen, sprachlichen und stilistischen Mittel der Passage!
2
Charakterisieren Sie die Bedeutung von Harriet Beecher Stowes Erziihlwerk flir den
amerikanischen Roman in der ersten Hiilfte des 19. Jahrhunderts!
J
Diskutieren Sie mit Bezug auf zwei weitere Autor/innen aus der ersten Hzilfte des 19.
Jahrhunderts die literarische Repriisentation der Sklaverei-Problematik !
Fortsetzung niichste Seite!
21
CDO
1X
evidendy
36- was that
\
roasting, to a degree thar was calcularcd to inspire terror in
any reflecting fowt li"itg. Her com-cake, in ali its varieties of
hoe-cake, dodgers, muffns, and other species too nurnerous
to mention, was a sublime mystery to all less practised comt&o pounders; and she would shake her fat sides with honest
pride and merriment, as she would narrate the fruidess effons
that one and another of her comlrcers had made to attain to
her elevation.
The arrival of company at the house, the arranging of din+S-ners and suppers "in style," awoke all the energies of her soul;
and no sight was more welcome to her than a pile of travelling mrnla launched on the verandah, for then she foresaw
fresh efficrts and fresh triumphs.
Just at present, however, Aunt Chloe is looking into the
I bake-pan; in which congenial operation we shall leive her till
we finish our picnrre of the cotrage.
In one corner of it stood a bed, covered neady with a
snowy spread; and by the side of it was a piece of carpeting,
of some ctrnsiderable size. On this piece bf carpeting Aunt
$- Chloe took her srand, as being deciciedly in the uppei walla
-l-"" cabin of Uncle Tom was a small tog Uuilding, closs
I adjoining to "the house," as the negro par accclloncc designates his masrer's dwelling. In front it had a near gardenpatch, where, every suflrmer, strawberries, raspberries, and a
Svariety of fruits and vegetables, flourished under careful tending. The whole front of it was covered by a large scarlet
bignonia and a native multiflora rose, which, ennvisting and
interlacing, left scarce a vestige of the rough logs to be seen.
Here, also, in summer, various brilliant annuals, such as marlo igolds, petunias, four-o'clocks, found an indulgent corner ln
which to unfold their splendors, and were the delight arrd
pride of Aunt Chlods heart.
Let us enter the dwelling. The evening meal at the house is
over,
and Aunt Chloe, who presided over its preparation as
4F.- head cook, has left to inferioiofficers in the kiichen the business of clearing away and washing dishes, and come our into
her own snug territories, to "get her ole man's supper;" therefore, doubt not that it is her you see by the fiie, presiding
with anxious interest over certain frizzlng items in a stew2o pan, and anon with grave consideration iifting the cover of a
Ef
€o
I
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I
bake-ketde, from whence sream forth indubitible intimations
of "something good." A round, black, shining face is hers, so
glossy as to suggest the idea that she might hwe been washed
over with white of eggs, like one of her own tea rusks. Her
whole plump countenance beams with satisfaction and contentment from under her well-starched checked turban, bear,
ing on it, however, if we must confess it, a lirtle of that tinge
of selFconsciousness which becomes the first cook of the
neighborhood, as Aunt Chloe was univerSrilly held and ac-
knowledged to be.
A cook she certainly was, in the very bone and centre of
her soul. Not a chicken or rwkey or duck in the barn-yard
but looked grave when they saw her approaching, and seemed
to be reflecting on their latter end; and certain it
she was always rneditating on trussing, stuffng and
'
of life; and it and the bed by which it lap and the whole
corner, in fact, were treated with distinguished considerarion,
and made, so far as possible, sacred from the marauding inroads and desecrations of litde folks. In fact, that comef was
6 o the drawing-room of the establishment. In the other corner
was a bed of much humbler pretensions, and evidendy designed for use. The wall over the fueplace was adomed lyith
some very brilliant scriprural prints, and a portrait of Generai
Washington, drawn and colored in a manner which would
GS-cenainly have astonished that hero, if ever he had happened
to meer with its like.
On a rough bench in the comer, a couple of woolly-headed
boys, with glistening black eyes and fat ihining cheeks, were
busy in superintending the first walking operations of the
?obaby, whlch, as is usuily rhe case, consisLdin gening up on
irc feet, balancing a momenr, and then tumbfrng d;wi1each successive failure being violendy cheered, as-something
decidedly clever.
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Friihjahr 2011
Einzelpri.ifungsnumme r 62618
Seite 12
Thema Nr.9
1
Ein wesentliches Merkmal der amerikanischen Erzahlliteratur nach dem Biirgerkrieg besteht in
regionaler Differenzierung. Nennen und beschreiben Sie mindestens drei Beispieltexte fiir diese
Tendenz!
2
Diskutieren Sie formale und stilistische Veriinderungen in diesen Texten gegentiber der
Narrativik der Vorbiirgerkriegsperiode! In welcher Weise konstituieren diese Veriinderungen
genretypi sche Zige der L o c al C o I o r -Liter atur?
J
Diskutieren Sie anhand dieser Beispieltexte Wandlungen der amerikanischen Kultur im
Hinblick auf das Verhiiltnis der Geschlechter und Ethnien sowie das Verhiiltnis zur Natur!
4.
In welcher Weise setzt sich die hier umrissene Tradition in der amerikanischen Literatur des
zw anzigsten Jahrhunderts fort?
Thema Nr. 10
Ercirtern Sie Hauptthemen und erziihlerische Charakteristika der Chicanoliteratur seit etwa 1970 an
mindestens zwei Beispielen eigener Wahl und betten Sie die Entwicklung der Chicanoliteratur in den
Kontext der amerikanischen Literatur- und Kulturgeschichte seit 1945 ein!
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Einzelprtifungsnumme r 62618
Friihjahr 2011
Seite 13
Thema Nr. 11
Emily Dickinson
(1 830-1
886)
"Nature" is what we see The Hill - the Afternoon Squirrel - Eclipse - the Bumble bee
Nay - Nature is Heaven Nature is what we hear The Bobolink* - the SeaThunder - the Cricket Nay - Nature is HarmonY Nature is what we know Yet have no art to saY So impotent Our Wisdom is
To her Simpliciry
-
*American songbird
Welche Definitionsversuche der Natur schliigt Dickinson hier vor?
2
Erliiutern Sie Form, Sprache und Bildlichkeit des Gedichts im Hinblick auf sein Thema!
J
Wie wird das Verhiiltnis von Mensch und Natur, und von Natur und Kunst umschrieben?
4
Diskutieren Sie das Gedicht im literarhistorischen Kontext zur Mitte des 19. Jahrhunderts!
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Einzelpriifungsnummer 62618
Seite 14
Thema Nr. 12
August Wilsons Drama Fences gehdrt zu einem Dramen-Zyklus, der sich mit der historischen
Erfahrung Afro-Amerikas im 20. Jahrhundert beschiiftigt. Fences ist, wie der im Folgenden
angefiihrte Nebentext (sowohl in ,,The Play" als auch in den Darlegungen zu ,,Act One, Scene One")
deutlich werden liisst, in den 1950er Jahren angesiedelt. Der Schauplatz der Handlung ist Pittsburgh.
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ao
l5
l$
The Play
Near the turn of the century, the destitute of Europe sprang on the city with tenacious claws and an
honest and solid dream. The city devoured them. They swelled its belly until it burst into a thousand
furnaces and sewing machines, a thousand butcher shops and bakers' ovens, a thousand churches and
hospitals and funeral parlors and money-lenders. The city grew. It nourished itself and offered each
man apartnership limited only by his talent, his guile, and his willingness and capacity for hard work.
For the immigrants of Europe, a dream dared and won true.
The descendants of African slaves'were offered no such welcome. or participation. They came
from places called the Carolinas and the Virginias, Georgia, Alabama, Mississippi, and Tennessee.
They come strong, eager, searching. The city rejected them and they fled and settled along the
riverbanks and under bridges in shallow, ramshackle houses made of sticks and tar-paper. They
collected rags and wood. They sold the use of their muscles and their bodies. They cleaned house and
washed clothes, they shined ,Lo"r, and in quiet desperation and vengeful pride, they stole, and lived in
pursuit of their own dream. That they could breathe free, finally, and stand to meet life with the force
of dignity arrd whatever eloquence the heart could call upon'
By 1957, the hard-won victories of the European immigrants had solidified the industrial might
of America. War had been confronted and won with new energies that used loyalty and patriotism as
its fuel. Life was rich, full, and flourishing. The Milwaukee Braves won the World Series, and the hot
winds of change that would make the sixties a turbulent, tacing, dangerous, and provocative decade
had not yet begun to blow full.
Fortsetzung niichste Seite!
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2011
Einzelpriifungsnumrner
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Seite
15
Act One, Scene One
It is 1957. Tnov [MtxsoN]
5
and Boxo enter the yard, engaged in conversation. TRIY is rtfiy-three years
out and make an
old, a large man with thick, heavy hands; it is this largeness that he strives to
accommodation with. Together with his blackness, his largeness informs his sensibilities and the
choices he has made in his life.
Of the two men, Bouo is obviously the follower. His commitment to their friendship of thir4todd years is rooted in his admiration of Tnov's honest, capacity for hard work, and his strength, which
Bowo seeks to emulate.
fill
It
40
is Friday night, payday, and the one night of the week the two men engage in a ritual of talk and
drink. Tnoy is usually the most talkative and at times he can be crude and almost vulgar, though he is
capable of rising to profound heights of expression. The men carry lunch buckets and wear or cawy
burlap aprons and are dressed in clothes suitable to theirjobs as garbage collectors.
Bono: Troy, you ought to stop that lying!
Troy: I ain't lying! The nigger had a watermelon this big (He indicates with his hands.) Talking about .
. . 'What watermelon, Mr. Rand?' I liked to fell out! 'What watermelon, Mr. Rand?' . . . And it
4s
sitting there big as life.
Bono: What did Mr. Rand say?
Troy: Ain't said nothing. Figure if the nigger too dumb to know he carrying a watermelon, he wasn't
gonna get much sense out of him. Trying to hide that great big old watermelon under his coat.
Afraid to let the white man see him cary it home.
2D Bono: I'm like you . . .I ain't got no time for them kind of people.
Troy: Now what he look like getting mad cause he see the man from the union talking to Mr. Rand?
Bono: He come to me talking about . . . 'Maxson gonna get us fired.' I told him to get away from me
with that. He walked away from me calling you a troublemaker. What Mr. Rand say?
Troy: Ain't said nothing. He told me to go down the Commissioner's office next Friday. They cllaed
me down there to see them.
2.t
Bono: Well, as long as you got your complaint filed, they can't fire you. That's what one of them whit
fellows tell me
Troy: I ain't worried about them firing me. They gonna fire me cause I asked a question? That's all I
did. I went to Mr. Rand and asked him, 'Why? Why you got the white mens driving and the
colored
lifting?' Told him, 'what's the matter, don't I count? You think only white fellows got
30
sense enough to drive a truck. That ain't no paper job! Hell, anybode can drive a truck. How
come you got all whites driving and the colored lifting? He told me 'take it to the union.' Well,
hell, that's what I done! Now they wanna come up with this pack of lies.
Bono: I told Brownie if the man come and ask him any questions . . . just tell the truth! It ain't nothing
35
but something they done trumped up on you cause you filed a complaint on them.
Troy: Brownie don't understand nothing. All I want them to do is change the job description. Give
everybody a chance to drive the truck. Brownie can't see that. He ain't got that much sense.
Ausgabe: August Wilson. Fences. New York: Plume Books, 1986
Fortsetzung niichste Seite!
Fnihjahr 2011
Einzelpriifungsnummer 62618
Seite 16
Fragen:
1
2.
Wie werden die beiden Figuren Troy und Bono eingeftihrt? Anlaysieren Sie, wie Formen der
direkten und indirekten Figurenzeichnung in diesen Passagen zu ihrer Charakterisierung
verwendet werden!
Auf welche Weise wird zum einen in der Dialogpassage und zum anderen im Nebentext
historische Erfahrung themati siert?
J
a
Erliiutern Sie, inwiefern Wilsons Drama am Projekt des postmodemen,,re-writing of American
history" teilnimmt und erkliiren Sie, worum es bei diesem Projekt geht!
4
Positionieren Sie Wilsons Drama innerhalb der Geschichte des amerikanischen wie des afroamerikanischen Dramas !
Thema Nr. 13
Eines der zentralen Konzepte im Bereich der Postcolonial Studies ist das der,,Diaspora".
Erliiutern Sie dieses Konzept historisch und theoretisch und zeigen Sie anhand von zwei bis drei
Romanen von mindestens zwei Autorinnen oder Autoren, wie dieses Konzept literarisch in unterschiedlicher Form verarbeitet wird!