Studienarbeit aus dem Jahr 2005 im Fachbereich Anglistik - Literatur, Note: 2, Universität Mannheim, Sprache: Deutsch, Abstract: Wenn man an einen in Tagebuchform geschriebenen Roman über eine allein stehende, männerbesessene Mittdreißigerin aus London gerät, denkt man nicht wirklich als Erstes an Jane Austen. Vermutlich gehen die ersten Gedanken, die sich mit der Frage beschäftigen, wo man so etwas Ähnliches vielleicht schon einmal gehört hat, eher in die Richtung Ally McBeal oder Sex and the City. Doch auf den zweiten Blick zeigt sich, dass diese Londoner Mittdreißigerin, diese Bridget Jones, tatsächlich Züge von Austen'schen Heldinnen hat. Und wenn man dann auch noch nach einiger Recherche herausfindet, dass die Autorin des Romans, Helen Fielding, in einem Internet-Chat ganz offen zugibt, den Plot ihrer Geschichte dem Austen'schen Meisterwerk Pride and Prejudice nachempfunden zu haben (s. Internet-Quelle), werden sich auch altmodische Austen-Anhänger an den Gedanken gewöhnen müssen, dass Bridget Jones eine moderne Version von Elizabeth Bennet ist. In dieser Hausarbeit möchte ich untersuchen, was genau die Ähnlichkeit, aber auch die Unterschiede zwischen den beiden Romanen Pride and Prejudice und Bridget Jones's Diary ausmacht, und wie die beiden Protagonistinnen in Licht e ihrer jeweiligen Zeit zu sehen sind. Beginnen werde ich mit einem allgemeinen Überblick über die Ähnlichkeiten der Romane. Danach werde ich anhand einer genaueren Untersuchung der beiden Titelfiguren ihre Ähnlichkeiten und Unterschiede herausarbeiten. Schließlich folgt ein Abschnitt über die Protagonistinnen und ihre Zeit, und zum Schluss mein Fazit.
Studienarbeit aus dem Jahr 2009 im Fachbereich Anglistik - Literatur, Note: 3,0, Universität Mannheim (Anglistisches Seminar), Veranstaltung: Shakespeare’s Histories: The Lancaster Tetralogy, Sprache: Deutsch, Abstract: In William Shakespeares Historiendramen King Henry IV, Part One (1H4) und King Henry IV, Part Two (2H4) begegnen Zuschauer und Leser einer Figur, die sich nur schwer einordnen lässt: Sir John Falstaff. Dieser fette, alternde Ritter ist einer der beliebtesten Charaktere in Shakespeares Dramen, taucht mit am häufigsten auf und begeisterte Königin Elizabeth I. gar so sehr, dass sie sich ein weiteres Stück mit Falstaff wünschte, in welchem er sich verlieben sollte. Shakespeare kam diesem Wunsch nach, indem er The Merry Wives of Windsor schrieb. Zahlreiche Kritiker haben sich mit der Falstaff-Figur beschäftigt und ihre Erkenntnisse veröffentlicht. Einer davon ist Graham Holderness, der in seinem Buch Shakespeare Recycled: The Making of Historical Drama Falstaff als ein collective being charakterisiert. Seiner Meinung nach ist Falstaff kein „coherent individual subject“, sondern „a polyphonic clamour of discourses, a fluid counterfeiter of dramatic impersonations“ (Holderness 2003: 129). Außerdem sieht Holderness Falstaff als Repräsentanten einer Art Gegenwelt, als eine “internal opposition to the ethical conventions, political priorities and structures of authority and power embodied in the sovereign hegemony of king, prince and court” (Holderness 2003: 129). Mit genau dieser Funktion Falstaffs beschäftigt sich diese Arbeit. Es soll gezeigt werden, wie diese innere Opposition Falstaffs zum Ausdruck kommt und welche Konsequenzen dies sowohl für ihn selbst, als auch für seinen Freund und Schützling Prinz Harry hat. Zunächst soll versucht werden, Falstaffs Charakter kurz vorzustellen und zusammenzufassen. Danach wird Falstaffs Position als Lord of Misrule, sein Verständnis von „Ehre“ und sein daraus resultierendes Verhalten im Vorfeld der Rebellion untersucht. In den letzten Teilen der Arbeit sollen Falstaffs Verfall und seine endgültige Zurückweisung durch den zum König aufgestiegenen Prinz Harry aufgezeigt und erläutert werden.
Following Julia Strachey's death, her life-long friend Frances Partridge was presented with an extraordinary assortment of her papers. Combining material from this source and extracts from the correspondence between the two friends, this book presents an account of the life of a remarkable woman.
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This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Thomas se leva d’un bond et la saisit par les poignets. - Tu es capable de tout, Julia. De jouer la comédie, d’assommer un homme d’une manchette et d’un tas d’autres choses aussi rocambolesques. Mais qui es-tu, bon sang ?
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This collected edition commemorates the 10th anniversary of Julia Darling's death, and includes a substantial selection of unpublished work. Jackie Kay writes: "The poems are funny, irreverent, moving and never sentimental. You can recognise yourself in them, recognise your family. They are warm, full of compassion; [...] a shining bright light.
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