_..__=r=i!!!!i;!!
.':
ti'
Priifungsteilnehmer
Priifun gstermin
Kennzahl:
Herbst
Kennwort:
62618
2006
Arbeitsplatz-Nr.:
Erste Staatspriifung fiir ein Lehramt an tiffentlichen Schulen
- Priifungsaufgaben -
o
Fach:
Englisch (vertieft studiert)
Einzelprtfung: wissenschaffl.Klausur-Literaturwissenschaft
Anzahl der gestellten Themen
(Aufgaben):
13
Anzahl der Dryckseiten dieser
Vorlage:
g
Thema Nr.
I
Liebe und Ehe im englischen Roman des 1g. Jahrhunderts
o;ffi f; ffTt:::8:ff :'ilTf fd::i1:-Tt#,,F:fi ru:f'#s;ffi:i:l j*';.fi;"a5L*
ausschlieBlich) auf Kategorien wie Individualismus, Eigentumserwerb
und die
Offentlichkeit und privatheit ein!
Wiihlen Sie mindestens drei Romane von nicht weniger als zwei Autoren!
diff"..* &vvre\
rilrrilr^*^"
Thema Nr.2
1'
2'
3'
Diskutieren Sie die verwendete Erz?ihlsituation
sowie das Verhiiltnis von Erziihler und Figur!
Welches Bild entwirft der Erzahlervon der geistigen
Haltung des Gabriel oak? wie wird die
Figur von den dcirflichen Mitbewohnern
wahrgenommen?
Welche symbolische Bedeutung kommt den
Kleidungs- und Ausriistungsgegenstiinden der Figur
zu?
Fortsetzung niichste Seite
!
.
i'"
Herbst 2006
4.
Einzelpnifungsnummer : 626 1 8
Seite: 2
Diskutieren Sie anhand der Hauptfigur das Verhiiltnis von Individuum und Gesellschaft
in der
sp?itviktorianischen Zeit! Gehen Sie dabei auch auf den Werktitel und auf
mindestens zwei weitere literarische Texte dieser Epoche ein!
)
I
Thomas Hardy, Far from the Madding Crowd
)
i
(e14l
I
J
I
I
o
o
Chapter 1: "Description of Farmer Oak
-
An lncident,,
WHEN Farmer Oak smiled , the corners of his mouth
spread till th ey were within an
; Llll important distance of hi s ears, his eyes
were reduced to chi nks, and diverging
wrinkles appeared round them, extending upon his
countena nce like the rays in a
, rudimentary sketch of the rising sun.
His Christian name was Gabriel, and on working days
he was a young man of sound
judgment, easy motions, proper dress,
and general g ood character. On Sund ays he
was a man of m isty views, rather given to postponing,
and ham pered by his best
clothes and u mbrella: upon the whole, one who felt
himself to occupy m orally that
vast middle space of Laodicean neutral ity which lay
between the Commun ion people
of the parish and the drunken section, that is, he
went to chu rch, but yawned privately by the time the con gregation reached the
Nicene creed, and thought of what
there would be for dinner when he meant to be
listen lng to the sermon. Or, to state
his character as it stood in the scale of public optnton,
when his friends and critics
were in tantrums, he was considered rather a bad
man; when they were pleased, he
was rather a good man; when they were neith er, he
was a man whose moral colour
was a kind of pepper-and-salt mixtu re.
Since he lived six times as man y working-d ays
as Sundays, Oak,s ap pearance in his
old clothes was most peculiarly his own
the mental picture formed by his
neighbours in imagining him being always d ressed
in that way. He wore a lowcrowned felt hat, spread out at the base by tight jam
ming upon the head for secu rity
in high winds, and a coat like Dr. Johnson's; his
lower extremities being encased in
ordinary leather I eggings and boots emphatically
large, afford ing to each foot a
roomy apartment so constructed that any wearer
might stand in a river all day long
, and know nothing of damp - their maker being a conscientious
man who endeavoured to compensate for any weakness in his cut
by unstinted dimension and solidity
Mr. Oak carried a bout him, by way of watch, wh
at may be called a small silver clock;
in other words, it was a watch as to shape and
intention, and a small cl ock as to size.
This instrument be ing several years older than
Oak's grandfather, had the peculiarity
of going either too fast or not at all. The smaller
of its hands, too, occasiona lly slipped
round on the p ivot, and thus, though the minutes
were told with precis ion, nobod
v
could be quite certain of the hour th ey belonged
to. The stopping peculi arity of his
watch Oak remedied by thumps and shakes,
and he escaped any evil consequences
from the other two defects by constant compari
sons with and obse rvations of the sun
and stars, and by pressing his face close to the glass
of his ne ighbours' windows, till
he could d iscern the hour marked by the green- faced
timekee pers within..lt may be
mentioned that Oak's fob bein g difficult of access,
by reason of its somewhat h igh
situation in the waistband of h is trousers (which also
lay at a remote height under his
waistcoat), the watch was as a necessity pulled out
by throwi ng the body to one side
compressing the mouth and face to a mere mass
of ruddy flesh on account of the
exertion required , and drawing up the watch by its
chain, like a buckei from a well
But some th oughtful persons, who had seen him
wal king across one of his fields on a
certain De cember morntng -- sunny and exceedi
ngly mild -- might have regarded
GabrielOak in oth er aspects than these. ln his fa ce
one might notice that many of the
hues and curves of youth had tarried
on to man hood: there even remained in his re_
moter crannies some relics of the boy
His height and breadth would have been su fficient to make his presence im postng had
they been eihibited with due consid era,
tion. But there rs a way some men ha ve,
rural and urban alike, for which the mind is
Fortsetzung niichste Seite
!
_-.--El:=5.l?Ft-F*
Herbst2006
Einzelprtifungsnunmer : 626 I 8
Seite: 3
more responsible than flesh and sinew: it is a way of curtailing their dimensions
bv
their manner of showing them. And from a quiet modesty that
'iourJ
vestal which seemed continually to impress upon him that he had
no great clairn on
the world's room, oak walked. unassumjngly and with a fainfly p"r""piiote
0".J, v"i
distinct from a bowing of the shoulders. Th-is may be said to Oe a
Oetect in an inoiviJual if he depends for his valuation more upon hii appearance than upon
his capaciiy
to wear well, which Oak did not.
h"u"lf6i;#
(Thomas Hardy, Far from the Madding Crowd, New York:
AMS press, 1gS4, 1-3)
Thema Nr.3
Aus gegebenem politischen Anlass setzt.sich der englische Gegenwartsroman
(seit ca. 19s0) vermehrt
mit dem Konzept der ,Englishness' auseinander. Ste-llen Sie anmindestens
drei neispi elen conitructions of Englishness im Gegenwartsroman vor.
I
Gehen Sie dabei insbesondere auch auf literarische Techniken ein!
Thema Nr.4
Untersuchen Sie den Figurentlpus des villainbei Shakespeare anhand von
mindestens drei Beispielen
'aus verschiedenen Dramen und gehen Sie dabei (in beliebiger Reihenfolge)
auf folgende Aspekte ein:
'
Welche Funktion hat der
'
Mit welchen dramaturgischen Mitteln wird er dargestellt?
'
Was sind. seine typischen Kennzeichen und Charaktereigenschaften und
wie sind diese motiviert?
o '
villainin derjeweiligen Handlungsstruktur?
welche Rolle spielen literatur- und geistesgeschichtliche Faktoren bei der Gestaltun
Figuren Shakespeares?
gd,er
villain.
Thema Nr.5
I
Interpretieren Sie den Textauszug von oscar
Wildes Salomd unter besonderer Beriicksichtigung
sprachlicher und stilstischer Aspekte !
2
Diskutieren sie die Frage, inwieweit wilde im vorliegenden
Text der Shcimung des syrnbolismus
folgt!
3
Nehmen Sie abschlie8end eine literarhistorische Situierung
dieses Dramas vor, indem Sie die wesentlichen,,Epochen"-Merkmale d,es
de
s
id
clebeschreiLen
!
fin
Fortsetzung n[chste Seite!
Herbst 2006
Einzelpriifungsnunmer: 62618
aus "Salom 6 in Complete Works
Clear-Type Press, S. S5B-59.
flszug
JorRruRRru: Who
of Oscar
Seite:4
Wilde. London and Glasgow: Collins
speaketh?
SnlouE: Jokanaan, I am amorous of thy body! Thy body is white like the lilies of a field that the
mower hath never mowed. Thy body is white like the snows that lie on the mountains, like
the
snows that lie on the mountains of Judea, and come down into the valleys, The roses in
the
garden of the Queen of Arabia are not so white as thy body. Neither the
roses in the garden of
the Queen of Arabia, nor the feet of the dawn when they light on the leaves, nor the breast
of
the moon when she lies on the breast of the sea. . . . There is nothing in the world so white
as
thy body. Let me touch thy body.
of Babylonl By woman came evil into the world. Speak not to me.
will not listen to thee. I listen but to the voice of the Lord God.
JoKANMN: Back! Daughter
I
hideous. lt is like the body of a leper. lt is like a plastered wall where vipers
have crawled; like a plastered wall where the scorpions have made their nest. lt is like a
SRlorraE: Thy body is
a
whitened sepulchre full of loathsome things. lt is horrible, thy body is horrible. lt is of thy hair
that
I am enamoured, Jokanaan. Thy hair is like clusters of grapes, like the clusters of black grapes
that hang from the vine-trees of Edom in the land of the Edomites. Thy hair is like the cedars
of
Lebanon, like the great cedars of Lebanon that give their shade to the lions and to the robbers
who would hide themselves by day" The long black nights, when the moon hides her face, when
the stars are afraid, are not so black. The silence that dwells in the forest is not so black. There
is nothing in the world so black as thy hair. . . . Let me touch thy hair.
JoxnruaAru: Back, daughter of Sodom! Touch me not. Profane not the ternple of the Lord God.
Thy hair is horrible. lt is covered with mire and dust. lt is like a crown of thorns which
they have placed on thy forehead. lt is like a knot of black serpents writhing round thy neck. I
SRt-oHrtE:
love not thy hair. . . . lt is thy mouth that I desire, Jokanaan. Thy mouth is like a band of scarlet
on a tower of ivory. lt is like a pomegranate cut with a knife of ivory. The pomegranate.flowers
o
that blossom in the garden of Tyre, and are redder than roses, are not so red. The red blasts of
trumpets, that herald the approach of kings, and make afraid the enemy; are not so red. Thy
mouth is redder than the feet of those who tread the wine in the wine-press. Thy mouth is
redder than the feet of the doves who haunt the temples and are fed by the priests. lt is redder
than the feet of him who cometh from a forest where he hath slain a lion, and seen gilded tigers.
Thy mouth is like a branch of coral that fishers have found in the twilight of the sea, the coral
that they keep for the kings . . .
! lt is like the vermilion that the Moabites find in the mines of
Moab, the vermilion that the kings take from them. lt is like the bow of the King of the Persians,
that is painted with vermilion, and is tipped with coral. There is nothing in the world so red as thy
mouth. . , . Let me kiss thy mouth.
JoxeruRRlt: Never, daughter of Babylon! Daughter of Sodom! Never.
-5-
r.rrffi---'-
Herbst 2006
Einzelpriifungsnunmer : 626 I 8
Thema
Seite: 5
Nr.6
Sprechersubiekt der Metaphysical Poetry-(...)
"Das
bringt (...) in den impulsiven sprachgesten
und
den conceirs ("') den
Kcirper f. ) iit neuer, emphatischeiweise in den lyrischen
Diskurs
ein...(Hans
ulrich Seeber [Hg.], nngiiscn! Lit"rut*gschichte,
s*ng*,
s, 106)
ii;;;'liil;,
Diskutieren Sie diese These unter Benicksichtigung
von
a)
b)
c)
mindestens vier Gedichten von mindestens
zwei Autoren,
Liebesdichtung und religidser Dichtung
sowie
Entwicklungstendenzen der englischen
Renaissance-Dichtung insgesamt
o
!
Thema Nr. 7
William Wordsworth
"Compbsed Upon Westminster
Bridge, September 3,
1802,,
FlllilllT!,1{i'#,1"_','x"xi,[i3,5J3.';,
touching in rts
f^:lnll.:
ln
majesty:
il:}' i^"i,;ffi ;,: X',i:fl,;H:
:?i,
Dnrps,
towers, domes, the;tr;;:
'""'",o ri"
fietds, and to th-e Jkul
"rlJiJmpre,
:),ffi:st:lhe
rrn
ongnr and glittering in
the
air.
Neverdid sun more beautifullysmokliess -,'.
,t""-o-""
o
i
?"ff ::J^i'l"Ji? T3;:
r
:j*":l
.";""1
ne nver glideth at his
own sweet will:
ffi :f ?'.i
J
H
J'.ii [""T
?J
h"I;ii;
",,
Harriet Duncan
"2003
Year of the Draoon
Chinese New y6ar',
Bells of Saint paul's
Huge lightening crack
r<ope of dripping fireworks
M iilennium Bridse
:::L: ::,!:s
Looplng
ttzzing allthe way
Leap to the Tate Modern
Round and round the tower
And stop.
Left behind trail of burning
embers
to the buildins
9lil.gilg
Until they fall awav
hotding them together
IF_.Jr'in
tvaporated in the heat.
I races of the journey.
Later evacuated from
The gallery because the
Roof is atight.
Fortsetzung niichste Seite!
a
Herbst 2006
Einzelprtifungsngrnmer: 626 I g
Seite: 6
vergleichen sie diese beiden London-Gedichte-und
gehen Sie dabei vor allem af ale epochenbedingten unterschiede ein (2.B. das Bild Londons,
die ariltt*hr Gestaltung, kulturelle Referenzen)!
Thema Nr.8
Analysieren Sie Frauenbilder und Frauenprobleme in
mindestens drei amerikanischen Erziihltexten
zwischen ausgehendem achtzehnten Jahrhundert und
dem Beginn
des s*Evrrur
Biirgerkriegs! Beziehen Sie
-e-^-- eve
dabei relevante kulturhistorische Kontexte mit ein!
Thema Nr.
o
9
Nella Larsen' Passing (1929). The Heath Anthology of
American Literature. Ed. paul Lauter.
-Fourth Edition. Boston: Houghton Mifflin, 2002..&e.
vol.2,pp.
log+-st.
l
'
2'
3'
Interpretieren Sie die fiktionale Repriisentation der
beiden protagonistiruren, kene Redfield und
Clare Kendry!
Analysieren sie den vorliegenden Romananfang in seinen
wesentlichen Kompositionsprinzipienl
Erliiutem sie die Position
Literatur!
der
Harlem Renaissance im Feld der modern(istisch)en amerikanischen
o
Fortsetzung niichste Seite!
1684
.
MoclernPeriod: I9t0-194i
o
o
from Passing
traordinary size.
had been,
in
Irene'ored, posrmarked i' Nerv york rhe day before. Her biows
a riny fro"vn. The frorvn, however, was more from perplexity than
annoyance; though there was in her rhoughts an element of^boih. sh. ru^
rvholly unable to comprehencl such an anitude towards danger as she was sure
the
letrert contents rvould reveal; and she disliked the idea ofop-ening and readin! it.
This, she reflected, rvas of a piece with all rhat she knerv of cl-are Ken.lry. iteppi4g always or the edge of danger. AJways aware, bur not drawing back or iurning
aside. certainly not because of any alarms or feerin! of outrage on t-he pa.t
of others.
And for a srvifr moment Irene Redfield .."nr.d to see a pale smaifgirl sitting on
a. ragged blue sofa, sewing pieces of bright red clotrr togerhei;
while hei drunkei father, a rall, powerfully built man, raged rhreareningly uf and down the shabby room,
bellorving curses ernd rnaking spasnrodic lunges ar her ivhich rvere not the less frighteni'g because they were, for the mosr part, ineffecrual. sometimes he did manag-e to
reach her. But only the facr rhat the_child had edged herself and her poor
sewingiver
to the farrhermost corner of the sofa suggested that she rvas in any way pert,r.b".d
uy
this rnenace to herself and.lrer rvork.
clare had knorvn rvell enough that ir was unsafe ro take a portion of the dollar
thatrvas her weekly wage for the doing of many errancls for the d'r.essm"ke*holived
on the top floor of rhe buiiding of rvhich Bob Kendry was janitor. Bur rhat knowledge had not dererred her. She wanted to go to her Sunday schoolt picnic,
and she
had made up her mincl ro rvear a nerv dress. so, in spite of certain unpi."r"rri*r.
possible dangea she had talcc' the rnoney ro brry th. material fo. th"r pathetic
little
frorr
*a
led frock.
The'e had been, even
1685
H
It rvas the last letter in Irene Redfieldi little pile of rnorning mail. After her other orclina'y and clearly directed lettels rhe long envelope of rhin Italian paper with its
a.lmost illegible scrarvl seemed out of place and alien. And there *or, too, somerhing
nrysrerious and slightly furtive about it. A thin sly thing which bore no return addiess
to betray the sencler. Not that she hadn't immediately known rvho irs sender was.
somc two years ago she had one very like it in outrvar.d appearance. Furtive, but yet
in some peculiar, determined way a little flaunting. purpre ink. Foreign paper of
ex-
It
.
i'
those clays, nothing sacrificial in crare Kendr.y,s idea of
She rvas selfish, and .oli, n,rd
hard. And yer she had, too, a sJrange capaciry of rransforming *rr,nih
Iit'e,'o allegiance beyond her own imnrediate desire.
,"d;;;i;r,
verging sometimes almost on theatrical heroics.
Irene, rvho rvas a year or more older than crare, remembered the day that
Bob
Kendry had been lrrought home dead, killed in a siily saloon-fight. clare,
*rro
u,
thar rirne a scant fifteen years old, had jusr stood theie with h., iips pr.rs.J
,og.,h.,,
her thin arms tblded across her narrorv chesr, staring dorvn
ri* ru-irirr"p"rry,
rvhite face ol her pa'ent with a sorr of disdain in her sianting
black eyes. Fo, ; ;;;y
lo'g ti'e she had stood like that, silent and staring. Then,
iuite ,"ai."rv,-.r,. r-'"a
given *'ay to a rorrenr ofrveeping, swaying her thin body, rearing
at h., brlght hair,
-,
o
and stamping her small feet. The ourburst had ceased as suddenly as it had begun"
she glanced quickly about the bare room, taking everyone in, even rhe two poicemen, in a sharp look of flashing scorn. And, in the next instant, she had turned and
vanished through the door.
seen across the long stretch of years, the thing had mor.e the appearance of an
One
came together
Larsez Passing
I'-t
U)
t'J
O
o\
o.utfollng of pent-up r"ry
*ql of an overflow of grief for her dead father; though
she had been, Irene admitted, fond enough of him G her own rather catlike way.
_catlike. certainly rhat was the word which best described crare Kendry, if any
single word could describe her. sometimes she was hard and apparently without f".l-
ing at all; sometimes she was affectionate and rashly impulsive. And there was about
her an an:azing soft malice, hidden weil away until provoked. Then she was capable
of scratching, and very effecrively too. oq driven ro anger, she would fight with a ferocity and impetuousness that.disregarded or forgot any danger.; rup"iio, strength,
numbers, or other unfavourable circumsrances. How s"u"gely she had cl"wed th"ose
boys the day they had hooted her parent and sung , derisiue rhyme, of rheir
own
c3mposing, which pointed our cerrain eccentriciries in his careening gaitl And how
deiiberately she hadIrcne blought her tl:oughts bact< to the presenr, to the letter from clare Ke'dry
that she still held unopened in her hand. with a little feering of appreher:rion, ,he ,rery
slorvly cut the envelope, drew-out the folded sheets, spreal therra and u"g"n
to,",ra.
I1_was, she saw at once, what she had expected since learni'g from
th"e postmar*
thatclare was in.the city. An exrrzvagantly phrased wish to seeier again. V;li;
need'_l and rvouldn'r, Irene told herself, accede to trrat. Nor would
ilor"
^rrirt
to realize he'foolish desire to return for a moment to trrat life which
long ,g",
of her orvn choice, she had ieft behind her.
""a
she ran th'ough the letter, puzzlingout, as best she courd, rhe careressry
formed
words or nraking instincrive guesses at them.
". . . For I am. lonely, so lonely . . . cannot help longing to be with you
again, as I
have never longed for anythi'g before; a'd I have wanted rnany
things in ,r.,*y ur. . . .
You can't know how in this pale life of mine I am ail the time
seeing-the bright pictures of that orher that I once_thought I was glad to be free
of . . . It,s
pain that never ceases . . ." sheets upon thin sheets of it.
"
And ending ri*uv
"and it's your fdult, 'Rene dear. At leait partly. For I wouldn't
now, p*hd;,ffi.'rlrt,
terrible, this wild desire if I hadn,t seen you that time in Chicago
. . ."
Brilliant red patches flarned in Irer:e Redfield's rvarm olive"cheeks.
Thu, tinre in Chicago. " The words stood out from among the many paragraphs
^. - . , words, bringing with thern
ot-other
a clear, sharp remeurbr.ance,
.hi.h
,roo,,
atter two years, humiliation, resentnrent, arrd r.age rvere
"u""n
uringled.
rn
5
N
o
.
H
.
oq
ie
;"
,
P
a,
It
U
o
i1
o\
N
o\
oo
lik";;-^G
*in,
i'
*^
,i
I
oo
I
a
o
(D
{
w."'
I
Herbst 2006
EittzelPriifu ngsnwnmer : 62 6 I 8
Seite: 8
Thema Nr. 10
Diskutieren Sie Intertextualit(it als inhaltliches
und strukurelles Element postmoderner amerikanischer
Romane (mind. drei Beispiele unterschiedlicher
Autoren/innen) !
Thema Nr.
lI
Song of Myself
By Walt Whitman, Leaves of Grass
o
I celebrate myself, and sing myself
And what I assume you shall assulne,
For every atom belonging to me as good belongs to you.
I loafe and invite my soul,
I lean and loafe at my ease observing
a spear
of summer
grass.
My tongue' every atom of my blood, form'd from this soil,
this air,
Bom here of parents born here from parents the same,
and
their parents the same,
_.
],-now thirtf-seven years old in perfect health begin,
Hoping to cease not till death.
Creeds and schools in abeyance,
Retiring back a while sufficed ai what they are, but never
forgotten,
I harbour for good or bad, I permit to speak at every hazard,,
Nature without check with original eneigy.
o
1.
Beschreiben Sie den formaren Aufbau dieses Gedichtanfangs!
2'
Geben Sie eine Analyse der Metaphorik und des sie tragenden
Gedankens!
3.
Ordnen Sie das Gedicht literaturgeschichtlich ein!
-9-
?
Herbst 2006
Einzelpriifungsrumtmer : 626 I 8
Seite:9
Thema Nr. 12
welche Themen und Darstellungsweisen haben
die Theaterstiicke ethnischer Autoren (Afro-American' Jewish-American, Mexican-American
oder Asian-American) in das amerikansiche Drama in der
zweiten Hiilfte des 20. Jahrhunderts eingebracht?
Beantworten Sie diese Frage anhand von mindestens
drei Texten!
Thema Nr.
13
Diskutieren Sie die Bedeutung der Religion fiir die Repriisentation
von Hybriditat und Identitiit in der
postkolonialen Literatur!
o
o
Wtihlen sie mindestens drei Texte von nicht weniger als zwei
Autoren und berticksichtigen Sie ggf.
Gattungsunterschiede in der Behandlung des Therias!
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