Herbst - Phil.-Hist. Fakultät

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Einzelprtifung: Wissenschaftl.Klausur-Literaturw.
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Thema Nr.
1
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Jane Austens Romane gelten als Bindeglied zwischen dem Roman des 18. und dem des 19. Jahrhunderts. Legen Sie zuniichst anhand des erziihltechnischen Instrumentariums dar, welcher traditioneller
und welcher neuer Mittel Jane Austen sich bedient! Erliiutern Sie zudem, welche bereits vorhandenen
Untergattungen des Romani Jane Austen aufnimmt, wie sie diese modifiziert und zu welchem Zweck
sie sie einsetzt! Diskutieren Sie abschlie8end, welche Funktion die eher realistischen und die eher
satirischen Elemente in Austens Romanen in Bezug auf den von ihr dargestellten Ausschnitt aus der
zeitgendssischen Gesellschaft haben! Exemplifizieren Sie Ihre Ausfiihrungen jeweils anhand von
mindestens zwei Austen-Romanen!
Herbst 2010
Einzelprtifu ngsnumme r 62618
Seite 2
Thema Nr.2
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"And this also," said Marlow suddenly, "has been one of the dark places of the earth."
He was the only man of us who still "followed the sea." The worst that could be said of him was that
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one may so express it, a sedentary life. Their minds are of the stay-at-home order, and their home is
always with them-the ship; and so is their country--the sea. One ship is very much like another, and
the sea is always the same. [...] The yarns of seamen have a direct simplicity, the whole meaning of
which lies within the shell of a cracked nut. But Marlow was'not typical (if his propensity to spin yarns
be excepted), and to him the meaning of an episode was not inside like a kernel but outside,
enveloping the tale which brought it out only as a glow brings out a haze, in the likeness of one of
these misty halos that sometimes are made visible by the spectral illumination of moonshine.
,?
,?
His remark did not seem at all surprising. It was just like Marlow. It was accepted in silence. No one
took the trouble to grunt even; and presently he said, very slow--
"I was thinking of very old times, when the Romans first came here, nineteen hundred years ago--the
other day. . . . Light came out of this river since--you say Knights? Yes; but it is like a running blaze
on a plain, like a flash of lightning in the clouds. We live in the flicker--may it last as long as the old
earth keeps rolling! But darkness was here yesterday. Imagine the feelings of a commander of a fine-what d'ye call 'em?--trireme in the Meditenanean, ordered suddenly to the north; run overland across
the Gauls in a huny; put in charge of one of these craft the legionaries--a wonderful lot of handy men
they must have been, too-used to build, apparently by the hundred, in a month or two, if we may
believe what we read. Imagine him here--the very end of the world, a sea the colour of lead, a sky the
colour of smoke, a kind of ship about as rigid as a concertina--and going up this river with stores, or
orders, or what you like. Sand-banks, marshes, forests, savages,--precious little to eat fit for a civilized
man, nothing but Thames water to drink. No Falernian wine here, no going ashore. Here and there a
military camp lost in a wilderness,like a needle in a bundle of hay--cold, fog, tempests, disease, exile,
and death,--death skulking in the air, in the water, in the bush. They must have been dying like flies
here. Oh, yes--he did it. Did it very well, too, no doubt, and without thinking much about it either,
except afterwards to brag of what he had gone through in his time, perhaps. They were men enough to
face the darkness. And perhaps he was cheered by keeping his eye on a chance of promotion to the
fleet at Ravenna by-and-by, if he had good friends in Rome and survived the awful climate. Or think of
a decent young citizen in a toga-perhaps too much dice, you know--coming out here in the train of
some prefect, or tax-gatherer, or trader even, to mend his fortunes. Land in a swamp, march through
the woods, and in some inland post feel the savagery, the utter savagery, had closed round him,--all
that mysterious life of the wilderness that stirs in the forest, in the jungles, in the hearts of wild men.
There's no initiation either into such mysteries. He has to live in the midst of the incomprehensible,
which is also detestable. And it has a fascination, too, that goes to work upon him. The fascination of
the abomination - you know, imagine the growing regrets, the longing to escape, the powerless disgust,
the surrender, the hate."
He paused
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"Mind," he began again,lifting one affn from the elbow, the palm of the hand outwards, so that, with
his legs folded before him, he had thd:pose of a Buddha preaehing in European clothes and without a
lutusflower--"Mind, none of us would feel exactly like this. What saves us is efficiency--the devotion
to efficiency. But these chaps were noit much account, really. They were no colonists; their
administration was merely a squeeze, and nothing more, I suspect. They were conquerors, and for that
you want only brute force-nothing to boast of, when you have it, since your strength is just an accident
arising from the weakness of others. They grabbed what they could get for the sake of what was to be
got. It was just robbery with violence, aggravated murder on a great scale, and men going at it blind-as is very proper for those who tackle a darkness. The conquest of the earth, which mostly means the
taking it away from those who have a different complexion or slightly flatter noses than ourselves, is
not a pretty thing when you look into it too much. What redeems it is the idea only. An idea at the back
of it; not a sentimental pretence but an idea; and an unselfish belief in the idea--something you can set
up, and bow down before, and offer a sacrifice to.
Joseph Conrad. Youth; Heart of Darkness; The End of the Tether. London: J. M. Dent and Sons, 1946,
t
pp.48-51.
Welche erz?ihltechnischen Mittel verwendet Conrad in Heart of Darkness und aus welchem Grund?
Vergleichen und kommentieren Sie diese Beobachtungen im Blick auf die Aussagen zu Marlows Art
des Erziihlens (siehe Text)! Diskutieren Sie kritisch Conrads komplexes Verhiiltnis zum
Kolonialismus! Beriicksichtigen Sie dabei, was Marlow mit,,the fascination of the abomination"
meint! Vergleichen Sie Conrads gattungsgeschichtlichen Beitrag zum Roman mit dem von zumindest
zwei anderen Autoren seiner Zeit, indem Sie Gemeinsamkeiten und Unterschiede herausarbeiten!
Thema Nr.3
'C
Interpretieren Sie den Textausschnitt aus Virginia Woolfs Kurzgeschichte,,Kew Gardens" unter.
besonderer Beriicksi chti gung sprachlicher Merkmale !
Diskutieren Sie anschlie8end den,,Wirklichkeits"-gehalt dieses Textes, gehen Sie dabei auch auf
Woolfs Asthetik ein!
Beschreiben Sie Woolfs spezifischen Beitrag zur Tradition der Kurzgeschichte, indem Sie die
Ges6hichte der Kurzgeschichte bis zu Woolf skizzieren; iiuBern Sie sich abschlieBend zu der Frage, ob
und wie Woolf die Tradition der Kurzgeschichte im weiteren Verlauf des 20. Jahrhunderts gepriigt hat!
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{
Kew Garden"
(D
flower-bed there rose PerI trupt a hundred staiks spreading into-heart-shapedat
* toogo.-shaped leaves tralf-way-up an-d unfurling
the rrifred or-blue or yellow p-etals marked with spots
of cofour raised upon-the surface; and from the red,
blue or yellow globm of the throat-emetg.-d. a straight
bar, rough witJi gold dust and slightly clubb.ed at the
end. Thi petals il.te voluminous enought to be.stirred
by the s,ttit*"t breeze, and when they moved, the red,
biue and yellow lights-passed one over the 94.t, staining an inch of thJbrown earth beneath -y"+-t spot of
the moist.intricate colour. The light fell either upon
the smooth, grey back of a pebblE, or, the shell of a
snail with its Erown, circular veins, or f.ltiog into a raindrop, it expanded with such intensiry of red, blue-and
y.11o* theihin walls of water that one expected^them
io burst and disappear. Instead, the drop was left i-'t a
second silver grey once more, and the light now settled
upon the flesli of a 1eaf, revealing the branching thread
oifibte beneath the surface, and again it moved on and
spread its illumination in the vast green spaces beneath
tLe,clome of the heart-shaped and tongue-shaped ieaves.
Then the breeze stirred, iather more briskly overhead
and the colour was flashed into the air above, into the
ey6s of the men and women who walk in Kew Gardens
in July.
I'he figures of these men and women straggled past
the flower-bed with a curiously irregular movement not
unlirke that of the white and blue butterflies who crossed
the turf in zig-zag flights from bed to bed. The man
was about six- incLes in front of the woman, strolling
carelessly, while she bore on with greater purpose, only
f,rROM the oval-shaped
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turning her head now and then to see that the children
were n-ot too far behind. The man kept this distance in
front of the woman purposely, though perhaps unconsciously, ,for he wished to go.on with his thoughts.
"Fifteen years ago I came here with Lily," he thought.
"We sat somewheie over there-by a,Iake and I begged
her to marry me all through the hot afternoon. How
the dragonfly kept circling round us: how clearly I see
the dragonfly and her shoe with the square silver buckle
at the toe. All the time I spoke I saw her shoe and when
it moved impatiently I knew without looking up what
she was going to say: the whole of her seemed to, be in'
her shoe. And my love, my desire, were in the dragonfly; for some reason I thought that if it settled there,
on that leaf, the broad one with the red flower in the
middle of it, if the dragonfly settled on the leaf she
would say 'Yes' at once. But the dragonfly went round
and round: it never settled anywhere-of course not,
happily not, or f shouldn't be walking here with
Eleanor and the children. Tell me, Eleanor. D'you ever
think of the past?" t ...1
Shotf Sfon'es'
Virginia Woolf, "Kew Gardens", in: A Haunted House and Other
London: The Hogarth Press, 1953, 32'33'
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5
Thema Nr. 4
Viiterliche Autoritiit in Shakespeares-Dramen
Er6rtern Sie ihre grundlegende Bedeutung - wie auch ihre Problematisierung - an mindestens drei
Stticken unter Beriicksichtigung zeitgentissischer Diskurskontexte !
Thema Nr. 5
rfi
Die zu protagonisten gewordenen Nebenfiguren aus Shakespeares Hamlet treffen in der beiliegenden
Szene auf einen Schauspieler, der mit seiner Truppe ein Sttick vor Ktinig Claudius spielen soll.
Analysieren Sie die Spillasthetik dieser Szene und erdrtern Sie die Funktionen, die dem Theaterspiel
hier zukommt! Erliiutern Sie hierzu das Selbstverstiindnis des player im Vergleich zu dem von
RosencrantzundGuildenstern! Ordnen Sie Stoppards Drama in die Traditionen des modernen
englischen Dramas ein und nehmen Sie dabei auch Bezug auf die dramatische Verarbeitung
ges ell schaft lich-kulturell er Frage n det Zeit!
curr: What will you play?
pilllrn: "The Murder of Goirzago".
curr: Full of fine cadehce.and corpses
pravbn: Pirated from the ltalian.. . .
nos: What is it about?
pLAyER: It's about a King and Queen..
curu Escapism! What else?
PLAYER:
r
curl:
..
Blood
and rhetoric.
-Love
Yes. (Going.)
PLAYER:
curI-: Where are you going?
PLAYER: I can come and go as I please.
curl.: You're evidently a man who knows his way around
I've been here before.
curr-: We're still finding our feet.
pLAyER: I should concentrate on not losing your heads.
PLAYER:
cuu-: Do you speak from knowledge?
Pr.lYER: Precedent.
qun: You've been here before.
And I know which way the wind is blowing,
pr-A,yER:
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cun: Operating on two levels, are we?! How clever! I
expect it comes naturally to you, being irt the business
so to speak.
(Tlre rievrn's grave face'does not change' He makes to
move off again. cuw for the second time cuts him off')
The truth is, we value your company, for want of any
other. We have been left so much to our own
devices-after a while one welcomes. the uncertainty
_^--t^r^
oI Delng leII ro otllcr PtruPrs J.
pLAyER: Uncertainty is the normal state. You're nobody
'
!
special.
(He makes to leave again. eun loses his cool.)
curl: But for God's sake what are we supposed to dol .
.plAYnn: Relax. Respond. That's what people do' You can't
go through life questioning your'situation at every
turn.
cutt: But we don't know what's going on, or what to do
with ourselves.'We don't know how to act.
pLAyER: Act natural. You know why you're here at least.
cun: We only know what we're told, and that's little
enough. And for all we know it isn't even true.
pLAyER: For all anyone knows, nothing is. Everything has
to be taken on trust; truth is only that which is taken
to be true. It's the currency of living. There may be
nothing behind it, but it doesn't make any difference
so long as it is honoured. One acts on assumptions.
t
What do you assume?
Tom Stoppard, Rosencrantz and Guildenstern Are Dead, London: Faber and Faber, 1967,4849.
Thema Nr. 6
{,
Der Neoklassizismus gilt als Bli.itezeit englischer Verssatire. Schildern Sie kurz den literatur- und
kulturhistorischen Kontext, nennen Sie die wesentlichen Auspriigungen der Gattung und veran-'
schaulichen Sie diese detaillierter an wenigstens zwei konkreten Beispielen! Beriicksichtigen Sie bei
Ihren Ausftihrungen zu den ausgewiihlten Texten wie zum Kontext auch die spezifisch neoklassizistische Asthetik und ihre Darstellungsformen!
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Thema Nr. 7
Alfred Tennyson, "Ulysses" (1842) Das Gedicht adaptiert die auch bei Homer und Dante festgehaltene Erziihlung von einer letzten Reise,
zu der der griechische Held Odysseus aufbrach - Jahre nachdem er als Sieger vom Kampf um Troja in
seine Heimat Ithaka zurtickgekehrt war. Von dieser letzten Reise kehrtc Odysseus nieht mehr zurtiek.
It little profits that an idle king,
By this still hearth, among these barren crags,
Matched with an agdd wife, I mete and dole
5
Unequal laws unto a savage race,
That hoard, and sleep, and feed, and know not me.
I cannot rest from travel: I will drink
Life to the lees*: all times I have enjoyed
Greatly, have suffered greatly, both with those
,e
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20
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30
That loved me, and alone; on shore, and when
Through scudding drifts the rainy Hyades*
Vext the dim sea: I am become a name;
For always roaming with a hungry heart
Much have I seen and known; cities of men
And manners, climates, councils, govemments,
Myself not least, but honoured of them all;
And drunk delight of battle with my peers,
Far on the ringing plains of windy Troy.
I am a part of all that I have met;
Yet all experience is an arch wherethrough
Gleams that untravelled world, whose margin fades
For ever and for ever when I move.
How dull it is to pause, to make an end,
To rust unburnished, not to shine in use!
As though to breathe were life. Life piled on life
Were all too little, and of one to me
Little remains: but every hour is saved
From that eternal silence, something more,
A bringer of new things; and vile it were
For some three suns to store and hoard myself,
And this gray spirit yearning in desire
To follow knowledge like a sinking star,
Beyond the utmost bound of human thought.
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This is my son, mine own Telemachus,
To whom I leave the sceptre'and the isle Well-loved of me, discerning.to fulfil
This labour, by slow prudence to make mild
A rugged people, and through soft degrees
Subdue them to the useful and the good.
Most blameless is he, centred in the sphere
Of common duties, decent not to fail
In offices oftenderness, and pay
Meet adoration to my household gods,
When I am gone. He works his work, I mine
There lies the port; the vessel puffs her sail:
There gloom the dark broad seas. My mariners
Souls that have toiled, and wrought, and thought with me
That ever with a frolic welcome took
The thunder and the sunshine, and opposed
Free hearts, free foreheads - you and I are old;
Old age hath yet his honour and his toil;
Death closes all: but something ere the end,
Some work of noble note, may yet be done,
Not unbecoming men that strove with Gods.
The lights begin to twinkle from the rocks:
The long day wanes: the slow moon climbs: the deep
Moans round with many voices. Come, my friends,
'Tis not too late to seek a newer world.
Push off, and sitting well in order smite
The sounding furrows; for my pu{pose holds
To sail beyond the sunset, and the baths
Of all the western stars, until I die.
It may be that the gulfs will wash us down:
It may be we shall touch the Happy Isles,*
And see the great Achilles, whom we knew.
Though much is taken, much abides; and though
We are not now that strength which in old days
Moved earth and heaven; that which we are, we are;
One equal temper of heroic hearts,
Made weak by time and fate, but strong in will
To strive, to seek, to find, and not to yield.
-
* drink ... to the lees: bis auf den Bodensatz / Grund leeren
* Hyades: Sturmwolken
* Happy Isles: die Inseln der Seligen
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1.
Analysieren Sie das Gedicht in formaler Hinsicht und berticksichtigen Sie dabei besonders die
Struktur, die Sprecherperspektive und die Frage des/der Addressaten! Das Gedicht ist ein
klassischer "dramatischer Mo{rolog"; arbeiten Sie die Besonderheiten dieser Form heraus!
2.
Diskutieren Sie das Thema der Zeit in diesem Gedicht, insbesondere den Kontrast von
heroischer Vergangenheit und ungewisser Zukunft sowie die sprachlichen und stilistischen
Mittel, mit denen hier eine 'Momentaufnahme' des Odysseus vor seiner ernettten Abreise
priisentiert wird! Inwiefern deutet sich in der Schilderung der Zukunft mtiglicherweise eine
Todessehnsucht an?
3. Analysieren
Sie den Kontrast zwischen h?iuslichem und heroischem Leben, den das Gedicht
aufbaut, v. a. auch unter dem Aspekt viktorianischer Maskulinitiitsnormen! Das Gedicht ist oft
als Lob auf die Tatkraft der Akteure des 'British Empire' gelesen worden. Wird jedoch die
Konstruktion von Maskulinitiit - ebenso wie die eines eindeutigen Ziels liir Odysseus'
Tatendrang - im Gedicht auch problematisiert?
4.
r
Positionieren Sie das Gedicht literatur- und kulturgeschichtlich und ziehen Sie weitere Ihnen
bekannte Texte zum Vergleich heran!
Text: Alfred Tennyson, "Ulysses" , The Broadview Anthology of Victorian Poetry and Poetic Theory,
ed. Thomas J. Collins and Vivienne J. Rundle. Toronto: Broadview Press, 1999.186-187.
Thema Nr. 8
t
In den Jahrzehnten nach der politischen Unabhiingigkeit galt es fiir die junge amerikanische Nation,
nun auch eine eigenstiindige kulturelle Identittit zu formulieren. Die Literatur der frtihen Republik
lieferte dabei einen wichtigen Beitrag. Unter den verschiedenen Auspriigungen des Romans kam dem
historischen Roman eine besonders wichtige Rolle zu.
1.
Definieren Sie den Begriff ,,historischer Roman"!
2
In welcher Beziehung steht der amerikanische historische Roman zum europiiischen
historischen Roman?
J
Inwiefern stellte die funktionale Auseinandersetzung mit,,Geschichte" eine besondere
Herausforderung fiir amerikanische Autorinnen nnd Autoren der friihen Republik dar?
4
Wtihlen Sie drei amerikanische historische Romane von mindestens zwei Autoren/Autorinnen
und erl?iutern Sie deren Beitrag zur nationalen Identitiitskonstruktion! Welche Inhalte und
Gestaltungsformen deuten dabei eine spezifisch,,amerikanische" Qualitiit an?
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Seite 10
Nr.9
I. Text: Theodore Dreisern Sister Carrie (1900)
Chapter
VII
THE LURE OF THE MATERIAL-.BEAUTY SPDAKS FOR ITSELF'
,T
T
The true meaning of money yet remains to be popularly explained and comprehended. When each
individual realises for himself that this thing primarily stands for and should only be accepted as a
moral due--that it should be paid ont as honestly stored energy, and not as a usurped privilege--many
of our social, religious, and political troubles will have permanently passed. As for Carrie, her
understanding of the moral significance of money was the popular understanding, nothing more. The
old definition: "Money: something everybody else has and I must get," would have expressed her
understanding of it thoroughly. Some of it she now held in her hand--two soft, green ten-dollar bills-and she felt that she was immensely better off for the having of them. It was something that was power
in itself. One of her order of mind would have been content to be cast away upon a desert island with a
bundle of money, and only the long strain of starvation would have taught her that in some cases it
could have no value. Even then she would have had no conception of the relative value of the thing;
her one thought would, undoubtedly, have concerned the pity of having so much power and the
inability to use it.
The poor girl thrilled as she walked away from Drouet. She felt ashamed in part because she had been
weak enough to take it, but her need was so dire, she was still glad. Now she would have a nice new
jacket! Now she would buy a nice pair of pretty button shoes. She would get stockings, too, and a skirl,
and, and-- until already, BS in the matter of her prospective salary, she had got beyond, in her desires,
twice the purchasing power of hei bills.
She conceived a true estimate of Drouet. To her, and indeed to all the world, he was a nice, goodhearted man. There was nothing evil in the fellow. He gave her the money out of a good heart--out of a
realisation of her want. He would not have given the same amount to a poor young man, but we must
not forget that a poor young man could not, in the nature of things, have appealed to him like a poor
young girl. Femininity affected his feelings. He was the creature of an inborn desire. Yet no beggar
could have caught his eye and said, "My God, mister, I'm starving," but he would gladly have handed
out what was considered the proper portion to give beggars and thought no more about it. There would
have been no speculation, no philosophising. He had no mental process in him worthy the dignity of
either of those terms. In his good clothes and fine health, he was a merry, unthinking moth of the lamp.
Deprived of his position, and struck by a few of the involved and baffling forces which sometimes play
upon man, he would have been as helpless as Carrie--as helpless, as non-understanding, as pitiable, if
you will, as she.
Now, in regard to his pursuit of women, he meant them no harm, because he did not conceive of the
relation which he hoped to hold with them as being harmful. He loved to make advances to wome1, to
have them succumb to his charms, not because he was a cold-blooded, dark, scheming villain, but
because his inborn desire urged him to that as a chief delight. He was vain, he was boastful, he was as
deluded by fine clothes as any silly-headed girl. A truly deep-dyed villain could have hornswaggled
him as readily as he could have flattered a pretty shop-girl. His fine success as a salesmanlay in his
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geniality and the thoroughly reputable standing of his house. He bobbed about among men, a veritable
bundle of enthusiasm--no power worthy the name of intellect, no thoughts worthy the adjective noble,
no feelings long continued in one strain. A Madame Sappho would have called him a pig; a
Shakespeare would have said "my m'erry child"; old, drinking Caryoe thought him a clever, successful
businessman. In short, he was as good as his intellect conceived.
The best proof that there was something open and commendable about the man was the fact that Caruie
took the money. No deep, sinister soul with ulterior motives could have given her fifteen cents under
the guise of friendship. The unintellectual are not so helpless. Nature has taught the beasts of the fteld
to fly when some unheralded danger threatens. She has put into the small, unwise head of the
chipmunk the untutored fear of poisons. "He keepeth His creatures whole," was not written of beasts
alone. Carrie was unwise, and, therefore, like the sheep in its unwisdom, strong in feeling. The instinct
of self-protection, strong in all such natures, was roused but feebly, if at all, by the overtures of
Drouet.
When Carrie had gone, he felicitated himself upon her good opinion. By George, it was a shame young
girls had to be knocked around like that. Cold weather coming on and no clothes. Tough. He would go
around to Fitzgerald and Moy's and get acigar.lt made him feel light of foot as he thought about her.
Carrie reached home in high good spirits, which she could scarcely conceal. The possession of the
'How
should she buy any clothes
money involved a number of points which perplexed her seriously.
when Minnie knew that she had no money? She had no sooner entered the flat than this point was
settled for her. It could not be done. She could think of no way of explaining.
II. Aufgaben
I
Interpretieren Sie den Text im Hinblick auf die Frage, wie ,Geld' die Beziehung zwischen den
Geschlechtern definiert!
2
Ordnen Sie Theodore Dreisers Roman ,,Sister Carrie" in den literaturgeschichtlichen Kontext
der Zeit um 1900 ein!
J
Welche sozialen, rikonomischen und kulturellen Transformationsprozesse, die die USA um
1900 durchliefen, werden in Dreisers Text repriisentiert?
,t
Thema Nr. 10
Die Literatur von Native Americans ist seit den 1970er und 80er Jahren zunehmend von einem breiten
Publikum rezipiert worden. Diskutieren Sie anhand ausgewflhlter Texte von mindestens zwei Native
American authors, wie Marginalisierung und kulturelle Entfremdung, aber auch Prozesse der
Transkulturation verarbeitet werden! Berticksichtigen Sie genrespezifische Formen der Verarbeitung!
-12-
Einzelpriiftingsnumme r 62618
Herbst 2010
Seite 12
Thema Nr. 11
Interpretieren Sie das Gedicht ,,Annabel Lee" (1849) von E. A. Poe im Hinblick auf:
1
2
4
J
4
seine formalen und sprachlichen Gestaltungsmittel;
die poetische Evokation der Titelfigur;
die wirkungsiisthetischen Uberlegungen Poes;
literarische Traditionen der Romantik!
Annabel Leel
It
i
was many and many ayear ago,
t
:
In a kingdom by the sea
That
i
maiden there lived whom vou may know.
By the name of ANNennl Lre;
And this maiden she lived with no other thought
Than to love and be loved by me.
1>
f
a
i
5
was a child and she was a child,
In this kingdom by the sea;
But we loved with a love that whs more than
love-
and my ArcNanrr- LnrWith a love that the wingtsd seraphs of heaven
Coveted her and me.
I
IO
And this was the reason that, long ago,
In this kingdom by the
sea,
A wind blew out of a cloud, chilling
My beautiful Arm,lnnr'Lnr;
So that her highborn kinsmen came
And bore her away from me,
To shut her up in a sepulphre
In this lsingdom by the sea.
The angels, not half
so
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20
happy in heaven,
Went envying'her and me-
Yes!-that was the reason (as all men know,
In this kingdom by the sea)
That the wind came out of the cloud by night,
Chilling and killing my ANnanrr Lrn.
,tt
25
But our love it was stronger by far than the love
Of those who were 6ldeithan weOf many far wiser than weAnd neither the angels in heaven above,
Nor the demons down under the sea,
Can ever dissever my soul from the soul
Of the beautiful ANNessL Lrn:
For the moon neverbea.ms, without bringing,me dteams
Of the beautiful Arvuearr Lnu;
And the'stars never:rise, but I.feel,the.bright eyes
Of the beautifutr,Am.raser. Lnu:
And so, all the night,tider l lie down by the side
Of my darling-my darling--my life and my bride,
In her sepulchre there by . the sea-
In her tomb by the sormding
3o
fi
4o,
sea.
r 819
I, The text is thai of the fit'st printing,
iE Rufus Griswotd's article ln the New
York Tribune (October 9, 1849), slgned
"Ludwig.'.'
Ouelle: The Norton Anthology of American Literature. Vol. 1. W.W. Norton
1979
&
Company,
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Herbst 2010
Einzelprtifungsnumme r 62618
Seite 13
Thema Nr. 12
Diskutieren Sie am Beispiel einer eingehenden Analyse von drei Stiicken unterschiedlicher Autorinnen
und/oder Autoren die Formen, Funktionen und die kulturhistorische Relevanz der Auseinandersetzung
mi+
;* alturlAilllJvllvlt
rrlrL Ewlruwl-I
I4Evll lrlr
^*^*:l-^-:-^L^*
^o-.l^- E*^^^-
I\*^*^
l^-')nzw. J4lultultuul
T^L*L,,-l^'+-l tJi
vLCtLIg uuJ
Thema Nr. 13
r
,(
The Middle Passage findet sich als Titel oder Thema in postkolonialer Literatur von den 1950er Jahren
bis heute. Erliiutem Sie den Begriff im historischen Kontext! Besprechen Sie wenigstens zwei Werke
fiktionaler oder nichtfiktionaler Prosa, ftir die The Middle Passage von zentraler Bedeutung ist! Gehen
Sie dabei auch auf das Zusammenwirken formaler und inhaltlicher Merkmale der Texte ein!
Beriicksichtigen Sie bei Ihren Ausftihrungen au8erdem das Konzept eines Black Atlantict