Friihjahr - Phil.

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fiir
ein I,ehramt an tiffentlichen Schulen
Priifungsaufgaben
Englisch (vertieft studied)
Einzelprtifung: Wissenschaftl.Klausur-Literaturw.
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r
Friihjahr 2014
Einzelpriifrrngsnunmer 62618
Thema Nr.
Seite 2
I
Interpretieren Sie den Ausschnitt aus Joseph Addison's Spectator No. 275 unter besonderer
Berticksichtigung stilistischer Besonderheiten! Diskutieren Sie anschlief3end die gesellschaftliche
Rolle der Frau im friihen achtzehnten Jahrhundert, indem Sie auf mindestens zwei literarische
Beispiele eigener Wahl (Romane) eingehen! Erdrtern Sie abschlie8end die Frage, welchen Beitrag die
Moralischen Wochenschriften fiir die Genese der,,Englischen Aufkldrungoo geleistet haben!
Tuisdal, ianuarit
No.275
rg r7r2l
[euursoN]
tribus Anticyh ca'lat inrf,nt'bile
' -.
i
WAS Yesterday engaged in an Assembly of Virtuosg'g'.*\trg
ptla".&titany curious observations, which h9$d
"i.
"fittt*
iiiif" *ra" in'the Anatomybf an Human Body. Another of the
Cottio*u.ommunicated to us severd wonderful Discoveries, vhich
*ade on the same Subject, by the help of very fine
Glrttrt. This gave girth to a great Variety gluncqqmol Remarks'
*a nonittt.dbiscourse for t-he'remaining Part of the.Day'
T
I
[" ni[it*
The different Opinions vhich were started on this Occaston
oresented to mv lmagination so many neb Ideas, that by mixing
kth thot" whiih wer? alriady therel they employed my Fancy all
the last NiEht, and compobed a very wild Extravagant Eream'
I was intted, methou}h[," to the Dissection of a Beau't Head and
oti'Aqoiti n*r, whi.liwere both of them laid on a Table before
rt. A" it""ginarl Operator opened the first.vith a grcet d:tl.,of
Nicety, which, ,ipon . curiory and superficial View, appeared like
we
the HLad of anotfier Man; but, upon applying our Glaqses-to lt,
as
tue
uPon
looked
made a verv odd Discoverry, namely, that what
3;il*#
*.tt
in riatity, b.ii an Heap of strange Materials
*o*d up in that Shape and Texture, and packed together with
wond"rful Art in the Several Cavities of the Skull. For, as Hony
,;{ls_ust'ih;t th" gboa of the Gods is not real Blood, but only
n"i
a metbought,] methoughts, Iol.
| trtotto,Ho'trlce, Att |ortic&, lciot A head which thtee doecs of hellebore cannot cure'
t Homer, tltadr:s. lig-19
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Einzelpriifungsnrunmer 62618
somethinq like
it; so we found that
it'
Seite
3
the Brain of a Beau is not real
;t i";ilf ""$
The Pincal Glrrd]';fi"hio*y
something like
'
of out Modern Philosophers
very str.ong ofEssence and
6melt
soot,
ofitt"
,o**.,o be the.sJat
with a kmd ot Pomy
encompassed
was
and
Orlnee-Flower Water,
;;frr";iloii"i".,ir""sandlittleFaiesorMirrours,whichwere
i-o"i.tp,iUte to the naked Eye, insomuch that the Soul' it there
f*ffi # iln;*o,otf
6.u"
ti" .always taken up in conternplat-
"'"w;il;*.J
ine her own Beauties.
Lre" An*unzor cavityin thesinctput,3 thatwas
together.m
^
. filled with Ribbonsflace and Embroidery, Itrg1tght
llKewrse
were
of
vluch
Parts
the
Network,
a most curious Piece of
Eve' Another of these Antrums or
d;;;tprtbte to the naked invisible
Billetdoux, Iove-Letters,
cJvities, was stuffed with
same nature' In anpther
ofthe
fto*ptry
othtt
pricked Dan".sr+ and
{;;?il;ki"a
ofPowder,which sit th" wh9le $mpany 1sn3.7-
it
self tobelight.Spaniq' ,'!'ne
of the same kind,
commodities
*.i"
exact_Inventory'
an
""Jwith
Reader
the
give
to
i, *ould be tedious
whiblr I must
Head
the
of
side
on
iach
tttg" Ca"iry
Flatteries
"
Ficrions,
with
6lled
was
side
Th*t on?,,igtit
ine, and bv the Scent discovered
;il;i;#r6Jr,
ol*fri.t
"'+l;;;;;t
# ;;;.
il-F;i*h""dr, Vo*r, pilmises and Protestationl thal on theleft
of
Ortt, andl*pi..arionr. ftt.t" issued ovta, D,tct from each
"irt
td;;"C;i;'-;hi;il';il;th"
Root of the Tongue' whery bgt!
'r
D'uct to the lP
ioined tosether, and passed forward in one common
n""as or canals running from the
'"?t.i;;?;;;*Jil;'Jiiiri"
gr"inl
ioot particular care to rrace them_ out
ilil;
iti"
il
or*'"
fuge canal;;;.d into a.great
This great
Tongue,
the
thJre went another Canai-into
*a
extended it self to
Others ended
Insffuments'
a bundle of Sonn"trlnd UtticMusical
or Fr9th.
wind
with
ghaa*r
either
*hi.h *.t"
i"-reu.ra
;hd;-h th"it ;""*JP;t*gtt:
oTe
nu
tk
*fr.n.i
of them
c:'g
t.rhestanttatatinr4!,t.cauedinLatinmrr,qofi
$]'f-l*
;ll',13,'i;ffi?gf::"3:,i{{
triy[,:i*#lfli#iliiFrffi :ttlF,:;"]i,r;";oii.itffaii.-niin*iii,
Briit,'lfft:tlq:1.'*l#ili:'iiiif,Hi:#w'*"rc:;i-'*"H:m;'
nn;
't'#)b*,
t.
part of the head'.
a cave,
Th. fore
aiiiti"lc by mcans of-pricts oi notis; herc it vould be the
k dvtpov,
+ To orick is .o ,tt
music foi such dancee.
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Seite 4
Cavity was filled with a kind of spongy Substance, vhich the
Fven& Anatomists call Galinutiarrr and the bglhb, Nonsense.
The Skins of the Forehead were ertrea:nly tough and thick, and
what very much surprized us, had not in them any single BloodVessel that ve were able to discover, either with or withouf our
Glasses; from whence we concluded, that the Party vhen alive must
have been entirely deprived of the Faculty of Blushing.
The or Cnihifornez was exceedingly stufi'ed and in some places
damaged with Snuff.g We could not but take Notice in particular
of that small Muscle, which is not often discovered in Dissecrions,
and draws the Nose upwards, when it e{presses the Contempt
which the Ovmer of it has, upon seeing any ihing he does not like,
or hearing any thing he does not understand. I need not tell my
learned. Reader, this is that Muscle which performs the Motion so
often mentioned by the Latin Poets,+ when thqy talk of a Man'e
cocking his Nose, or playing the Rhinoceros.s
We did not find any thing vay remarkable in the Eye, saving
only, that the Maswli Arwtmii, or as we may translate it into
fuglith, the ogling Mwcler, were very much wom and decayed with
use; whereas on the contrary, the Elcpator or the Muscle6 which
turns the Eye towards Heaven, did not appear to have been used
at all.
r oE.D records the word in Enelish from r6sl.
a Or (Letin, 11outl), used in anitomy in ntnii"g the moutha or entraaces of ccrtain oasiaces. Critrilhiz* (Latin. haviire thc ap*erance of a sicvc). Accordilg to
Thorias dibgoo (iranw'of Hina* nidus rpinnizrd ftook vi, chap. vi) tt ts so
called
beceusc li&c a Sleve it bath manv holcs, bv which thc filaments of the olfectory
Nerves . , , oass into the Nosrrili. It ic ieeled in the middle Barir of the Forehead
at the top of thc Nostrile, and is covered with the Durd Mztlllvhich occompanies
the nery6us fflamente aforeoaid through the holes (6tb ed.r rzo3' p. J84).
r Thie point
z
Juty
bad been djscuosed rn a queetion and answer
in tbe Bfitttb ANII,
r7o^81
Q, Is therc a paloege from ttre Noee to the Brain, by which tbe Brain might be
iniured bv too uuch tatinc ofSnuff?
'.q.. Thdt there ere Pasceg-es from the Brain to the Nostrills, ig moet certain, rl*'
the Perforationo ofthe ot-Cribrown, through vhich the Nervous Fibres dercend'
but they are so smell that SaufPowilere cannot be iatromitted, or Arcend through
them tri tie Brain: Yet may thc ovcrnuch uee of such Powdcrs so furr and clog
thst Borc, thqt the disc,har-go of B:rcrcmcntitious trIumoure may be hin&cdr and
the Braln Conocqucatly vcry much injut'd thereby.
Cf, Martiel Wgta,nt, r. g, J-{.
Thir quotatioo is the only e*amplc ia oED of this phraec.
Cfl. Tliomae Glbson, Tha Anatonj of tuanau Boditt i+ttorf,tzr4 book v, chap. iv,
i
of the Muscler of tle Dyd':
+
5
6
The Musclcs ol
each E1e are
in numbcr eix; four wclgpt; and tvo obl4rc, Thc
:
.:
'
rrraigit movc the Eyeg upwarde and downwarde, to the right hand and to thc left:
tbe ohliltw move them obliouelv . . .
The jirrr of the nraigDr is'r:lted. anlhnt or Ehtaor, because it moveth the Eye
uowerds-.. . .
'The obti4w Mruclee are called citcilrnrgrrtet, winders or rollcrc about,
amatorii, ofamorons; end are in sumber
The
spectator,vol.ll, ed. Donald
ead
two . . . (6th ed., r7o3r PP' 493-,$).
F. Bond,
oxford:clarendon press, J-965, s7o-s73.
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Einzelpriifungsnwnmer 62618
Seite 5
Thema Nr. 2
Gothic Novel und Gesellschaft
Diskutieren Sie an mindestens drei Textbeispielen den Bezug des englischen Schauerromans im'
19. Jahrhundertzu zeitgendssischen gesellschaftlichen Diskursen und Problemkonstellationen!
Thema Nr. 3
Der englische Roman des spiiten 20. Jahrhunderts beschffiigt sich erneut, wenn auch anders als zuvor,
mit dem Thema Geschichte bzw. Geschichtsschreibung. Dabei entstehen Formen von
Selbsteflexiviuit, wie sie sich auch in anderen Spielarten postmoderner Narration finden.
Erliiutern Sie diese Tendenz sowie weitere formale und inhaltliche Merkmale der so genannten
,historiographischen Metafiktion' im Kontext postnodernen Erziihlens anhand von drei einschliigigen
Roman-Beispielen!
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Seite 6
Thema Nr. 4
In der folgenden Werbeszene aus Shakespeares Komddie The Taming of the Shrewversucht Petruchio
Katharina zur Heirat zu bewegen. Es ist zugleich die erste Begegnung der beiden.
PETRUCHIO. Whose tongue?
KATHARINA. Yours, if you talk of tails: and so
KATHANNA enters
PETRUCHIO. Good morrow, Kate; for
that's your name, I hear.
KATHARINA. Well have you heard, but
something hard of hearing:
They call me Katharina that do talk of me.
PETRUCHIO. You lie, in faith; for you
farewell.
fShe turns to go
PETRUCHIO. What, with my tongue in yow
tail? nay, come again,
lHe seizes her in his arms
Good Kate; I am a gentleman -
are
called plain Kate,
And bonny Kate and sometimes Kate the
KATHARINA. That I'll try.
[She strikes him
curst;
190
But Kate, the prettiest Kate in Christendom
Kate of Kate Hall, my super-dainty Kate,
For dainties are all Kates, and therefore, Kate,
Take this of me, Kate of my consolation Hearing thy mildness praised in every town,
Thy virtues spoke of and thy beauty sounded,
Yet not so deeply as to thee belongs,
Myself am moved to woo thee for my wife.
KATHARINA. Moved! in good time: let
him that moved you hither
Remove you hence: I knew you at the first
You were
a
PETRUCHIO. I swear I'll cuff you, if you strike
again.
220
books!
KATHARINA. What is your crest? a coxcomb?
PETRUCHIO. A combless cock, so Kate will be
my hen.
KATHARINA. No cock of mine; you crow too
like a craven.
moveable.
PETRUCHIO. Why, what's
PETRUCHIO. Nay, come, Kate, come; you
a moveable?
KATHARINA. A j oint-stool.
PETRUCHIO. Thou hast hit it: come, sit on
me.
KATHARINA. Asses
are made to bear, and
so are you.
200
PETRUCHIO. Women
are made to bear,
and so axe you.
KATHARINA. No
such jade as you,
if me
230
you mem.
PETRUCHIO. Alas! good Kate,I will not
must not look so sour.
KATHARINA. It is my fashion, when I see a
crab.
PETRUCHIO. Why, here's no crab;and
therefore look not sour.
KATHARINA. There is, there is.
PETRUCHIO. Then show it me.
KATHARINA. Had I aglass,I would.
PETRUCHIO. What, you mean my face?
KATHARINA. Well aimed of such a young one.
burden thee;
fShe struggles
For, knowing thee to be but young and light KATHARINA. Too light for such a swain as
you to catch;
And yet as heavy as my weight should be.
PETRUCHIO. Should be! should-buzz!
KATHARINA. Well ta'en, and like a
PETRUCHIO. Now, by
PETRUCHIO. O slow-wing'd turtle! shall
KATHARINA. Yet you are withered.
fTouches his forehead
PETRUCHIO
[&rsses
her handf. 'Tis with cares.
KATHARINAfshe slipsfrom him.]l care not!
PETRUCHIO. Nay, hear you, Kate: in sooth
you scape not so.
lHe catches her once more
KATHARINA. I chafe you, if I tarry...Let me
a
buzzard take thee?
KATHARINA. Ay, for a hrtle,
S. George,I am too
young for you.
buzz,ard.
as he takes a
go!
buzzard.
210
KATHARINA. So may you lose your arms!
If you strike me, you are no gentleman;
And if no gentleman, why then no tums.
PETRUCHIO. A herald, Kate? O, put me in thy
PETRUCHIO. Come, come, you wasp;
fShe struggles again, biting and scratching as he
i'faith, you are too angry.
speaks
KATHARINA. If I
PETRUCHIO. No, not
a whit: I find you passing
gentle.
'Twas told me you were rough and coy and
sullen,
be waspish, best beware
my sting.
PETRUCHIO. My remedy is then, to pluck
it out.
KATHARINA. Ay, if the fool could find it
where it lies,
And now I find report a very liar;
240
For thou are pleasant, gamesome, passing
PETRUCHIO. Who knows not where a
courteous,
wasp does
wear his sting?
In hic fqil
But slow in speech, yet sweet as spring-time
flowers:
Thorr cansf nnf frown- thou canst not look
KATHARINA. ln his tonsue.
askance,
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PETRUCHIO. lt is extempore, from my mother-
Nor bite the lip, as angry wenches will,
Nor hast thou pleasure to be cross in talk;
But thou with mildness entertain'st thy
wit.
KATHARINA. A witry mother! witless else her
wooers,
With gentle conference, soft and affable...
He releases her
Why does the world report that Kate doth
son.
PETRUCHIO. Am I notwise?
KATHARINA. Yes; keep you warm.
260
limp?
2s0
O slanderous world! Kate like the hazel-twig
Is straight and slender and as brown in hue
As hazel nuts and sweeter than the kernels...
O, let me see thee walk: thou dost not halt.
KATHARINA. Go, fool,
and whom thou
keep'st command.
PETRUCHIO. Did ever Dian
Seite 7
so become a
grove
As Kate this chamber with her princely gait?
O, be thou Dian, and let her be Kate,
And then let Kate be chaste and Dian
sportful!
KATHARINA. Where did you study all this
goodly speech?
270
PETRUCHIO. Marry,
so I mean, sweet
Katharina, in thy bed:
And therefore, setting all this chat aside,
Thus in plain terms: your father hath consented
That you shall be my wife; yow dowry 'greed on;
And, Will you, nill you, I will marry you...
Now, Kate, I am a husband for your turn,
For, by this light, whereby I see thy beauty,
Thy beauty, that doth make me like thee well,
Thou must be married to no man but me.
For I am he am bom to tame you Kate,
And bring you from a wild Kate to a Kate
Conformable as other household Kates.
Here comes your father: never make denial;
I must and will have Katharina to my wife.
Quelle: Skakespeare. The Taming of the Shrew. Ed. Arthurd Quiller-Couch and John Dover Wilson.
Cambridge: Cambridge UP, 1953. Print.37 - 40.
l.
Analysieren Sie den Textausschnitt unter Beriicksichtigung von Thematik und Form! Gehen
Sie insbesondere auf die rhetorischen Mittel ein, die in der Werbeszene zum Einsatz kommen!
2.
Analysieren Sie die in dem Ausschnitt zum Ausdruck kommenden Geschlechterrollen!
3. Situieren Sie die Geschlechterrollen
im literatur- und kulturhistorischen Kontext der Friihen
Neuzeit! Gehen Sie dabei auf mindestens zwei weitere Dramen ein, in denen
Geschlechterrollen verhandelt werden
!
-8-
Friihjah 2014
Einzelpriifungsnunmer 62618
Seite 8
Thema Nr. 5
Diskutieren Sie anhand ausgewiihlter Werke von mindestens drei Autoren die Bearbeitung historischer
Stoffe im englischen Drama des 20. Jahrhunderts! Beriicksichtigen Sie dabei auch die dramatischen
Priisentationstechniken sowie die mit der jeweiligen Stofifrvahl verkntpften Wirkungsintentionen!
Thema Nr. 6
In Thomas Campions Dichtungslehre von 1602 heiBt es kritisch iiber die Sonetrform:
,,methinks the poet handles his subject as tyrannically as Procrustes the thiefe his prisoners, whom,
when he had taken, he used to cast upon a bed, which, if they were too short to fill, he would str-etch
them longer, of too long, he would cut them shorter."
Diskutieren Sie diese Kritik und stellen Sie anhand von drei Beispielen dar, in 'ruelcher Weise die
Sonettform gleichwohl in englischer Dichtkunst um 1600 zum Einsatz kommt, wozu sie insbesondere
genutzt wird und welchen kulturellen Wandlungen sie dabei unterliegt!
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Friihjahr 2014
Seite 9
Thema Nr. 7
Horace Smith: "Orymandias" (1818)
IN Egypt's sandy silence, all alone,
Stands a gigantic Leg, which far offthrows
The only shadow that the Desert knows:"I am greatOZYMANDIAS," saith the stone,
"The King of Kings; this mighty City shows
"The wonders of my hand."- The City's gone,Nought but the Leg remaining to disclose
The site of this forgotten Babylon.
We wonder,-and some Hunter may express
Wonder like ours, when thro'the wilderness
Where London stood, holding the Wolf in chace,
He meets some fragment huge, and stops to guess
What powerful but unrecorded race
Once dwelt in that annihilated place.
5
l0
l Nought nothing
Percy Bysshe Shelley: "Orymandias" (1818)
I met a tiaveller from an antique land
Who said: Two vast and trunkless legs of stone
Stand in the desert ... Near them on the sand,
Half sunk, a shattered visage lies, whose frown
And wrinkled lip and sneer of cold command
Tell that its sculptor well those passions read
Which yet survive, stamped on these lifeless things,
The hand that mocked them and the heart that fed:
And on the pedestal these words appear:
"My name is Ozymandias, king of kings:
Look on my works, ye Mighty, and despair!"
Nothing beside remains. Round the decay
Of that colossal wreck, boundless and bare,
The lone and level sands stretch far away.
2
trunkless without
5
10
a body
Quelle beider Gedichte:
Romanticsm. An Anthologlt, ed. Duncan Wu. Oxford: Blach,vell, 3rd edition 2006
1.
Nehmen Sie eine vergleichende Analyse der Gedichte im Hinblick auf Thematik, Aufbau,
Metrik, Bildlichkeit und sprachliche Gestaltung vor!
2.
Erliiutern Sie Sprechsituation und Kommunikationszusammenhang
3.
Erltiutem Sie den Bezugder Gedichte auf die europtiische Sonetttradition!
4.
!
Welche zentralenThemenbereiche der englischen Romantik werden in den Gedichten
behandelt?
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Einzelprtifungsnwnmer 62618
Seite 10
Thema Nr.8
Diskutieren Sie mit Bezug auf mindestens vier Prosawerke die Funktion des Sentimentalen in der
amerikanischen Literatur! Beriicksichtigen Sie dabei a) Erziihlmuster, sprachliche und rhetorische
Mittel, b) gender-Konstellationen sowie c) die kulturellen und gesellschaftlichen Funktionen des
Geftihls in der sentimentalen Literatur!
Thema Nr. 9
Skizzieren Sie die wichtigsten Charakteristika eines naturalistischen Textes anhand eines Romans
Ihrer Watrl! Wie liisst sich der Naturalismus als literaturhistorische Strd,mung in die amerikanische
Literaturgeschichte einordnen? Welche ideengeschichtlichen Entwicklungen werden in der Literatur
des Naturalismus aufgegriffen, und welche kulturhistorischen Aspekte finden sich thematisiert?
Thema Nr. 10
Die Anschliige auf das World Trade Center und das Pentagon am I l. September 2001 haben zu einer
intensiven Auseinandersetzung mit den Ereignissen und ihren Kontexten in der Gattung des Romans
gefiihrt; die Rede ist oft von der,,9/11 novel".
1.
Nennen Sie thematische Merkmale und narrative Verfahren, die genannt werden, um eine
solche Gattung zu definieren, und beziehen Sie kritisch Stellung dazul.
i
2
Wiihlen Sie drei Romane aus, die sich mit ,,9111" befassen, und erdrtem Sie deren thematischen
Bezug sowie die verwendeten narrativen Verfahren!
J
Beziehen Sie Stellung zur These, die historischen Ereignisse des I 1. September 2001 bedeuteten die Riickkehr des Realen (,,the return of the real") und damit das Ende der Postmoderne!
-11 -
Friihjahr 2014
Einzelpriifungsnummer 62618
Seite
11
Thema Nr. 11
Allen Ginsberg, "A Supermarket in California" (1955)
29
A SUPERMARKET IN CAI.IFORNIA
What thoughts I have of you tonight, Walt Whit-
I w-alked down the sidestreets under the trees
witJr a headache selllconscious looking at the full moon.
man, for
In my hungry fatigue, and shopping for images,
went into the neon fruit supermarket, dreaming of
your enumerations!
What peaches and what.p_enumbras! Whole families shopping at night! Aisles fuIl of husbands! Wives
in the avocados, babies in the lemaless!-3nd you,
Garcia Lorca, what were you doing down by the
I
watermelons?
I saw you, Walt Whitman, childless, lonely old
grubber, poking among the meats in the refrigerator
and eyei:rg the grocery boys.
I heard you asking questions of each: Who killed
the pork chops? What price bananas? Are you my
Angel?
I
wandered
in and out of the brilliant stacks of
in my imagination
cans following you, and followed
by the store detective.
We strode down the open corridors together in
our solitary fancy tasting artichokes, possessing every
frozen delicacy, and never passing the cashier.
Where are we going, Walt Whitman? The doors
in an hour. l4lhich way does your beard point
tonight?
(I touch your book and dream ofour odyssey in
tJre supermarket and feel absurd.)
Will we walk all night through solitary sheets?
The trees add shade to shade, lights out in the houses,
we'lJ both be lonely.
Will we stroll dreaming of the lost America of love
past blue automobiles*in driveways, home to our
silent
close
cottag€?
-Ah,
dear father, graybeard, lonely old courage_
teacher, what America did you have when Charod quit
po$g
hi1 ferry and you got our on a smoking lank
and stood watching the boat disappear on the black
wa.ters of Lethe?
Berkeh2 1955
rt ^L ^4^ Cr ^:4^l
Itrr^-a-^L--*Ur lSEr,ZlIttB -lraullslt
lJl;rrt:
Friihiahr 2014
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Seite 12
Worterkliirungen:
Charon ist eine mythologische Figur der Unterwelt. In Dantes Gdttlicher Komddie ist er der
F?ihrmann, der die Toten tiber den FluB des Vergessens (Lethe) ins Totenreich beftirdert.
Ausgabe:
Allen Ginsberg, Howl and Other Poems.3gth Printing. San Francisco: City Lights Books, 1991
Aufgaben:
1.
Analysieren und interpretieren Sie die Sprechsituation und die Form des Gedichts!
2. Erdrtern Sie formal-iisthetische
sowie literaturgeschichtliche Funktionen der Anspielung auf
Walt Whitman in Ginsbergs Gedicht!
3.
Positionieren Sie Ginsberg in der amerikanischen Literaturgeschichte der Nachkriegsjahre und
gehen Sie dabei auch auf die kulturkritischen Impulse ein, wie sie in der Literatur der sog. Beat
Generation im allgemeinen und in Ginsbergs Gedicht im besondetenzufinden sind!
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Einzelprtifungsnunmer 62618
Thema Nr. 12
Roy:No. Like all labels they tell you one thing and one thing only: where does an individual so
identified fit in the food chain, in the pecking order? Not ideology, or sexual taste, but something much
simpler: clout. Not who I fuck or who fucks me, but who will pick up the phone when I call, who owes
me favors. This is what a label refers to. Now to someone who does not understand this, homosexual is
what I am because I have sex with men. But really this is wrong. Homosexuals are not men who sleep
with other men. Homosexuals are men who in fifteen years of trying cannot get a pissant
antidiscrimination bill through City Council. Homosexuals are men who know nobody and who.
nobody knows. Who have zero clout. Does this sound like me, Henry?
Henry: No.
Roy: No. I have clout. A lot. I can pick up this phone, punch fifteen numbers, and you know who
be on the other end in under five minutes, Henry?
will
Henry: The President.
Roy: Even better, Henry. His Wife.
Henry: I'm impressed.
Roy: I don't want you to be impressed. I want you to understand. This is not sophistry. And this is not
hypocrisy. This is realrty. I have sex with men. But unlike nearly every other man of whom this is true,
I bring the guy I'm screwing to the White House and President Reagan smiles at us and shakes his
hand. Because whatl am is defined entirely by who I am. Roy Cohn is not a homosexual. Roy Cohn is
a heterosexual man, Henry, who fucks around with guys.
Henry: OK, Roy.
Roy: And what is my diagnosis, Henry?
Henry: You have AIDS, Roy.
Roy: No, Henry, no. AIDS is what homosexuals have. I have liver cancer.
Quelle: Tony Kushner, Angels in America: A Gay Fantasia on National Themes (New York: Theatre
Communications Group, 1992)Part One: 51-52.
Fortsetzung niichste Seite!
Frtihjahr 2014
Einzelpriifirngsmunmer 62618
Seite 14
1.
Diskutieren Sie den Untertitel von Kushners Drama I ngels in America - ,,A Gay Fantasia on
National Themes"! Auf welche,,nationalen" Themen wird in dem Stiick Bentg genommen und
wie stehen diese in Beziehung zum Thema Homosexualitht?
2.
Diskutieren Sie die Bedeutung von "living in the closet" anhand von Kushners Drama! Nehmen
Sie dabei auch Bezug auf die zitierte Textstelle!
3.
Viele Kritiker haben Angels of America als eines der wichtigsten amerikanischen Dramen des
spiiten 20. Jahrhundert charakterisiert. Erliiutem Sie diese Einschiitzung sowohl anhand der
behandelten Themen als auch auf der Basis der verwendeten dramaturgischen Mittel! Ordnen Sie
Kushners Stiick dabei literaturgeschichtlich in die amerikanische literarische Produktion des
ausgehenden 20. Jalrhunderts ein!
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Seite 15
Thema Nr. 13
Die nachtriigliche Aufarbeitung der Geschichte der Sklaverei findet sich vermehrt seit den 1990er
Jahren als Thema in postkolonialer Literatur.
Besprechen Sie wenigstens zwei Werke fiktionaler oder nichtfiktionaler Prosa" fiir die eine solche
Thematik von zentraler Bedeutung ist! Gehen Sie dabei auf das Zusammenwirken formaler und
inhaltlicher Merkmale der Texte ein, und erl?iutern Sie den zum Verstiindnis relevanten, historischen
Kontext! Welche Konzepte postkolonialistischer Theoriebildung sind bei der Inteqpretation hilfreich,
und warum?