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Prüfungstraining Englisch Abitur - schule.bbs-haarentor.de www2 ...

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Lösungen Kapitel 3<br />

n Aufgabe 5<br />

The person speaking is an artist, a painter to be precise<br />

(the rea<strong>de</strong>r can draw this conclusion because the I-narrator<br />

portraits people in or<strong>de</strong>r to earn a living): he usually<br />

studies people’s outer appearances very thoroughly and<br />

is able to draw conclusions about a person and his character.<br />

Furthermore, the painter himself argues with his<br />

professional knowledge that all the rumours can’t be<br />

true, because he would be able to see them in his face,<br />

his hands, his appearance. Therefore, he argues that the<br />

rumours can’t be true – and the way that he talks so<br />

much about the rumours as well as his tone make it clear<br />

to the rea<strong>de</strong>r that there are in<strong>de</strong>ed bad rumours about<br />

Dorian Gray: he could be a drug-addict of some kind, or<br />

he could have sexual preferences not accepted by society;<br />

his moral conduct could be strange somehow or<br />

maybe he even committed a (serious) crime.<br />

n Aufgabe 6<br />

Bevor es möglich ist, ein Gedicht in eine Kurzgeschichte<br />

umzuschreiben, ist eine kurze Interpretation notwendig:<br />

Das lyrische Ich befin<strong>de</strong>t sich an einem heißen Sommertag<br />

(‘Twas August, and the fierce sun overhead) in einer<br />

Großstadt (im Osten Londons). Es ist ein Werktag, was<br />

<strong>de</strong>n Erzähler als vermutlich <strong>de</strong>r Mittelschicht zugehörig<br />

ausweist. Er blickt durch ein Fenster – evtl. das Fenster<br />

eines ärmlichen Heimarbeiters – zu einem Weber, <strong>de</strong>ssen<br />

Haltung Nie<strong>de</strong>rgeschlagenheit, Entmutigung und<br />

Traurigkeit wi<strong>de</strong>rspiegelt (so je<strong>de</strong>nfalls nimmt <strong>de</strong>r Ich-<br />

Erzähler die Situation wahr – vgl. Zeile 3/4: “the pale<br />

weaver … looked thrice dispirited”).<br />

Während <strong>de</strong>r Erzähler eine Spannung zwischen Armut<br />

und Wohlstand, zwischen Tradition und Fortschritt wahrzunehmen<br />

scheint, ist es ein Priester, <strong>de</strong>r in dieser Situation<br />

<strong>de</strong>n Glauben als Lösung weist: Jesus bzw. Gott („the<br />

living bread”) gibt Hoffnung (he „sets up a mark of everlasting<br />

light”); offen bleibt am En<strong>de</strong> allerdings, ob sich<br />

für <strong>de</strong>n Weber ein Weg zur Überwindung seiner Armut<br />

auftut.<br />

Short Story: A hot, sunny day in August. I was at home<br />

and feeling a bit restless. My mum and our housemaids<br />

were preparing a gar<strong>de</strong>n party to celebrate my first job,<br />

which was going to be held the following day. Whenever<br />

I had spotted a quiet place to enjoy my book and<br />

the last of my free time before starting work on Monday,<br />

first my mum and then one of the maids ma<strong>de</strong> me<br />

move out of the way. Well, then I got fed up with it and<br />

<strong>de</strong>ci<strong>de</strong>d to go out for a walk.<br />

I had been walking for just over an hour when I reached<br />

the outskirts of East London – a part of the city my<br />

parents didn’t want me to go to, but I kept on walking<br />

anyway. I stopped when I came to a corner of two<br />

streets, and was trying to make a <strong>de</strong>cision about which<br />

direction to take. Sud<strong>de</strong>nly, I felt thirsty and thought<br />

158<br />

about finding a pub. I took a closer look around the<br />

streets and noticed a lot of small, poor, shaggy looking<br />

houses, but there wasn’t a pub in sight.<br />

Don’t the people who live here ever go to pubs? I won<strong>de</strong>red.<br />

I was feeling curious, so I looked in through the<br />

dirty window of a house. I could see a skinny, tired<br />

looking man in his thirties, hunched over his work,<br />

weaving some kind of garment. He was surroun<strong>de</strong>d by<br />

numerous kids of different ages and I could sense the<br />

<strong>de</strong>speration, poverty and hopelessness – even through<br />

the window.<br />

“Hello, my friend!” I had not heard anybody approaching,<br />

but as soon as I turned around, I saw that it was<br />

our parish priest. “What are you doing here?”, I said.<br />

The priest’s answer to my question took a while to sink<br />

in: “Believe in Christ, our saviour, the living bread, and<br />

thou shall live. Don’t worry so much.”<br />

A hot, sunny day in August. Had I misun<strong>de</strong>rstood our<br />

priest’s sermons throughout my whole life? Weren’t we<br />

human because of our ability to share and maybe help<br />

ease our fellow’s fate? After thanking him for his inspiring<br />

words, I slowly turned around and began my<br />

long walk back home.<br />

Kapitel 3: Texttypen<br />

n Aufgabe 1<br />

When a writer relates an occurrence, a real or imaginary<br />

action or simply tells a story, he <strong>de</strong>scribes the events in<br />

the natural time sequence or chronological or<strong>de</strong>r in<br />

which they occurred and may, if he wishes, comment<br />

on inci<strong>de</strong>nts related. This is known as the narrative text<br />

type.<br />

Ernest Hemingway relates how an old man kills an<br />

enormous fish. The events follow in logical succession:<br />

the great fish rises into the air, the old man summoning<br />

all his strength drives his harpoon into its si<strong>de</strong>. The<br />

climax is reached in the second paragraph when the<br />

fish leaps into the air and crashes down besi<strong>de</strong> the skiff.<br />

The old man only realizes that the fish is <strong>de</strong>ad when he<br />

sees the harpoon sticking in its si<strong>de</strong> and its dark blood<br />

discolouring the blue water. This leads him to think<br />

about the fish.<br />

n Aufgabe 2<br />

A writer, by virtue of vivid, interesting and or<strong>de</strong>red <strong>de</strong>scription<br />

of his subject, may strive to arouse in the mind<br />

of the rea<strong>de</strong>r a clear mental picture of what the author<br />

had seen or imagined. Dean Koontz’s <strong>de</strong>scriptive text<br />

offers an impressionistic <strong>de</strong>scription of a casino and its<br />

patrons. People from all walks of life – grandmothers,<br />

hookers, Japanese, cowboy types, secretaries, a 300<br />

pound lady, an oilman, security guards, blackjack <strong>de</strong>al-

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