Prüfungsteilnehmer
Prüfungstermin
Einzelprüfungsnummer
Kennzahl:
Herbst
2013
Kennwort:
Arbeitsplatz-Nr.:
42611
Erste Staatsprüfung für ein Lehramt an öffentlichen Schulen
-
Prüfungsaufgaben -
Fach:
Englisch (Unterrichtsfach)
Einzelprüfung:
Interpretation
Anzahl der gestellten Themen (Aufgaben): 3
Anzahl der Druckseiten dieser Vorlage:
7
Bitte wenden!
Herbst 2013
Seite 2
Einzelprüfungsnummer 42611
Thema Nr.l
Robert Frost, "Design" (1922,1936).
th
Aus: Baym, Nina, et. al., eds. The Norton Anthology of American Literature. Vol. 11. 4 ed. New York, London :
W.W. Norton, 1994. 1110-1111.
I found a dimpled spider, fat and white,
On a white heal-all, holding up a moth
Like a white piece of rigid satin clothAssorted characters of death and blight
Mixed ready to begin the morning right,
Like the ingredients of a witches' brothA snow-drop spider, a flower like a froth ,
And dead wings carried like a paper kite.
What had that flower to do with being white,
The wayside blue and innocent heal-all?
What brought the kindred spider to that height,
Then steered the white moth thither in the night?
What but design of darkness to appall?If design govern in a thing so smalI.
Erläuterungen:
heal-all: a common field flower (Prunella vulgaris), whose hooded blossom is nonnally violet or blue.
blight: a disease of plants
broth: liquid in which meat, fish, or vegetables have been cooked
froth: 1. Bubbles formed on a liquid; 2. s.th. that is appealing but has no serious value or interest
.
appall: to cause s.o. to fee I fear, shock, or disgust
Aufgaben:
1.
2.
3.
Erläutern Sie die formale Struktur des Sonetts!
Erörtern Sie die verwendete Bildlichkeit mit Bezug auf die zentrale Frage nach einer höheren
Ordnung ("design")!
Ordnen Sie Robert Frosts lyrisches Werk literaturgeschichtlich ein!
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Seite 3
Einzelprüfungsnurnmer 42611
Thema Nr. 2
Oscar Wilde, The Importance 0/ Being Earnest (1895)
Act 1, Scene 1
Zur Erläuterung:
Das Gespräch findet in Algemons luxuriöser Stadtwohnung in London statt. Jack hat bei seinem vorigen Besuch sein Zigarettenetui liegen gelassen, in dem Algemon soeben die eingravierte Widmung
"From little Cecily with her fondest love to her dear Unc1e Jack" entdeckt hat. Jack ist in der Londoner
Gesellschaft jedoch unter dem Namen Emest bekannt.
[... ]
Algernon. [... ] Besides, your name isn't Jack at all; it is Emest.
Jack. It isn't Emest; it's Jack.
Algernon. You have always told me it was Emest. I have introduced you to every one as
Emest. Y ou answer to the name of Emest. Y ou look as if your name was Emest. You are the
most eamest-Iooking person 1 ever saw in my life. It is perfectly absurd your saying that your
name isn't Emest. It's on your cards. Here is one ofthem. [Taking it from case.] 'Mr. Emest
Worthing, B. 4, The Albany. ' 1'11 keep this as a proofthat your name is Emest if ever you
attempt to deny it to me, or to Gwendolen, or to any one else. [Puts the card in his pocket.]
Jack. W.ell, my name is Emest in town and Jack in the country, and the cigarette case was
given to me in the country.
Algernon. Yes, but that does not account for the fact that your small Aunt Cecily, who lives
at Tunbridge WeHs, caHs you her dear unc1e. Come, old boy, you had much better have the
thing out at once.
Jack. My dear AIgy, you talk exactly as ifyou were a dentist. It is very vulgar to talk like a
dentist when one isn' t a dentist. It pro duces a false impression,
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Einzelprüfungsnummer 42611
Algernon. WeIl, that is exactly what dentists always do. Now, go on! Tell me the whole
thing. I may mention that I have always suspected you of being a confirmed and secret
Bunburyist; and I am quite sure of it now.
Jack. Bunburyist? What on earth do you mean by a Bunburyist?
Algernon. 1'11 reveal to you the meaning ofthat incomparable expression assoon as you are
kind enough to inform me why you are Emest in town and lack in the country.
Jack. WeH, produce my cigarette case first.
Algernon. Here it iso [Hands cigarette case.] Now produce your explanation, and pray make it
improbable. [Sits on sofa.]
Jack. My dear fellow, there is nothing improbable about my explanation at all. In fact it's
perfectly ordinary. Old Mr. Thomas Cardew, who adopted me when I was a little boy, made
me in his will guardian to his grand-daughter, Miss Cecily Cardew. Cecily, who addresses me
as her uncle from motives of respect that you could not possibly appreciate, lives at my place
in the country und er the charge of her admirable govemess, Miss Prism.
...
[ ]
Algernon. Now, go on. Why are you Emest in town and lack in the country?
Jack. My dear AIgy, I don't know whether you will be able to understand my real motives.
You are hardly serious enough. When one is placed in the position of guardian, one has to
adopt a very high moral tone on all subjects. It's one's duty to do so. And as a high moral tone
can hardly be said to conduce very much to either one's health or one' s happiness, in order to
get up to town I have always pretended to have a younger brother of the name of Emest, who
lives in the Albany, and gets into the most dreadful scrapes. That, my dear AIgy, is the whole
truth pure and simple.
Aigernon. The truth is rarely pure and never simple. Modem life would be very tedious if it
were either, and modem literature a complete impossibility!
[... ]
Aigernon. I was quite right in saying you were a Bunburyist. You are one ofthe most
advanced Bunburyists I know.
Jack. What on earth do you mean?
Algernon. You have invented a very useful younger brother called Emest, in order that you
may be able to come up to town as often as you like. I have invented an invaluable permanent
invalid called Bunbury, in order that I may be able to go down into the country whenever I
choose. Bunbury is perfectly invaluable. Ifit wasn't for Bunbury' s extraordinary bad health,
for instance, I wouldn't be able to dine with you at Willis's to-night, for I have been really
engaged to Aunt Augusta for more than a week.
Jack. I haven' t asked you to dine with me anywhere to-night.
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Seite 5
Algernon. I know. You are absurdly careless about sending out invitations. It is very foolish
ofyou. Nothing annoys people so much as not receiving invitations.
...
[ ]
Jack. I'm not a Bunburyist at all. If Gwendolen accepts me, I am going to kill my brother,
indeed I think 1'11 kill hirn in any case. Cecily is a little too much interested in hirn. It is rather
a bore. So I am going to get rid of Ernest. And I strongly advise you to do the same with Mr...
with your invalid friend who has the absurd name.
AIgernon. Nothing will induce me to part with Bunbury, and if you ever get married, which
seems to me extremely problematic, you will be very glad to know Bunbury. A man who
marries without knowing Bunbury has a very tedious time of it.
Jack. That is nonsense. If I marry a charming girllike Gwendolen, and she is the only girl I
ever saw in my life that I would marry, I certainly won't want to know Bunbury.
Algernon. Then your wife will. You don't seem to realise, that in married life three is
company and two is none.
1.
Interpretieren Sie die Textpassage aus der Exposition des Stückes im Hinblick auf Dialogführung, Figurencharakterisierung und Informationsvergabe!
2.
Zeigen Sie auf, aufweIche Weise mit sprachlichen Mitteln Komik erzeugt wird! Achten Sie
dabei insbesondere darauf, wie mit (angeblich) allgemeingültigen, sprichwörtlichen, Wahrheiten' wie auch mit dem Wort ,Ernst' und seinen Synonymen umgegangen wird!
3.
Die männlichen Hauptfiguren in Oscar Wildes Gesellschaftskomödien werden im Allgemeinen
als dandies bezeichnet. Charakterisieren Sie diesen Figurentyp und stellen Sie dar, inwiefern
Aigernon und lack ihm zuzurechnen sind!
4.
Ernsthaftigkeit zählte im viktorianischen Zeitalter zu den hochgeschätzten Tugenden einer moralisch einwandfreien Lebensführung. Erörtern Sie, wie Oscar Wilde sich mit seiner Komödie
The Importance ofBeing Earnest und anderen Werken zu den GrundeinsteIlungen und -werten
seiner Zeit verhielt!
Text: Oscar Wilde, The Importance ofBeing Earnest. In: Oscar Wilde (The Oxford Authors)
Ed. Isobel Marray. OUP 1989
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Einzelprüfungsnummer 42611
Seite 6
Thema Nr. 3
Text: Kazuo Ishiguro: The Remains ofthe Day, S. 27 - 29.
Ausgabe: London: Faber & Faber, 1989.
Mr. Stevens, Butler in Darlington Hall, einem großen englischen Landhaus, ist im Jahr 1956 mit dem
Auto seines neuen amerikanischen Arbeitgebers Mr. Farraday auf dem Weg in den Südwesten Englands, um Miss Kenton, die vor dem Zweiten Weltkrieg als Haushälterin in Darlington Hall gearbeitet
hat, zu besuchen. Während ihrer gemeinsamen Dienstzeit in Darlington Hall zeigte der damalige
Hausherr, der von Stevens verehrte Lord Darlington, deutliche Sympathien für Nazi-Deutschland. Stevens' Reise führt ihn "through much ofthe finest countryside ofEngland", unter anderem auch durch
Salisbury, wo er übernachtet. Die zitierte Passage ist ein Auszug aus seinem Reisetagebuch.
1.
Analysieren Sie die Erzählsituation! Sie können dabei auf unterschiedliche Modelle der Erzähltextanal yse zurückgreifen!
2.
In welcher Beziehung steht die Beschreibung der Landschaft zur Persönlichkeit des Erzählers?
3.
Erläutern Sie Stevens' Verständnis von "greatness"!
4.
Setzen Sie die Passage in Beziehung zu Vorstellungen von Englishness! Beziehen Sie dabei
sowohl den Zeitpunkt von Stevens' Reise (1956) als auch die Entstehungszeit des Romans
(1989) mit ein! Nehmen Sie davon ausgehend eine literaturhistorische Situierung des Romans
vor!
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Einzelprüfungsnummer 42611
I would suppose it was shortly after four o'c1ock that lieft the guest house and
ventured out into the streets of Salisbury. The wide, airy nature of the streets
here give the city a marvellously spacious feel, so that I found it most easy to
spend some hours just strolling in the gently warm sunshine. Moreover, I
discovered the city to be one of many charms; time and again, I found myself
wandering pastdeiightful rows of old timber-fronted houses, or crossing some
Iittle stone footbridge over one of the many streams that flow through the city.
And of course, I did not fail to visit the fine cathedraI, much praised by Mrs
Symons in her volume. This august build~ng was hardly difficult for me to
locate, its looming spire being ever-visible wherever one goes in Salisbury.
Indeed, as I was making my way back to this guest house this evening, I glanced
back over my shoulder on a number of o-ccasions and was met each time by a
view of the sun setting behind that great spire.
And
yet tonight,in the quiet of this room, I find that what really remains with
.. ._- ------ - _ .,-----._
me from this first day's travel is not Salisbury Cathedral, nor any of the other
charming sights of this city, but rather that marvellous view encountered this
morning of the rolling English countryside. Now I am quite prepared to believe
that other countries can offer more obviously spectacular scenery. Indeed, I have
seen in encyc10pedias and the National Geographie Magazine breath-taking
photographs of sights from various corners of the globe; magnificent canyons
and waterfalls, raggedly beautiful mountains. It has never, of course, been my
privilege to have seen such things at first hand, but I will nevertheless hazard
this with some confidence: the English landscape at its finest - such as I saw it
this morning - pQ§sesses a quality thaUheJandscJl.pes of other nations, however
more superficially dramatic, !~}'" fail to possess. It is, I believe, a quality
that will mark out the English landscape to any objective ob server as ~ most
~eplL satisfying in the world, and this quality is probably best summed up by
the term '~eatnes~'. For it is true, when I stood on that high ledge this morning
and viewed the land before me, I distinctly feIt that rare, yet unmistakable
feeling - the feeling that one is in the presence of greatness; We call t1!i§Jang-.9f
ours Great Britain; and- there--inay be those who believethis a - somewhat
lmmodest pract~et I would venture that the landscape of our country alone
would justify the use of this lofty adjective.
And yet what precisely is this 'greatness'? lust where, or in what, does it lie? I
am quite aware it would take a far wiserhead than mine to answer such a
question, but if 1_were forced to hazard a guess, I would say that it is the very
lack of obvious dramaor spectac1e that sets the beauty of our land apart. What is
pertment is the calmness of that beauty. Hs sense of restraint. It is as though the
land knows of its own beauty, of its own greatness, ancl feels no need to shout it.
In comparison, the sorts of sights offered in such places' as Africa and Anlerlca,
though undoubtedly very exciting, would, I am sure, strike the objective viewer
as inferior on account oftheir unseemly demonstrativeness.
.. -._-----------. -- ~--._-
Mrs Symons the ficticious author of a travel guide
Seite 7