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