Repetitorium
Metrum
- Jambus (iamb, metrische Einheit mit Auftakt): unbetont - betont (x /), „nanu“,
„above“
- Trochäus (trochee, auftaktlose Einheit): betont – unbetont (/ x), „fallend“, „falling“
- Daktylus (dactyl): betont – zwei unbetonte Silben (/ x x), „absteigend“, „Daktylus“
- Anapäst (anapest): zwei unbetonte Silben - eine betont (x x /), „Anapäst“, „vor dem
Haus“
- Spondäus (spondee): zwei betonte Silben (/ /), „Hilfe!“
1
„record“ (/ x = - u) vs. „to record“ (x / = u -)
I can connect / x x /
nothing with nothing.
/xx/x
The broken fingernails of dirty hands.
x / x / x / x / x /
My people humble people who expect
x / x /
x / x / x /
Nothing.
/x
2
Reime
- Paarreim ((rhyming) couplet): aabb
- Kreuzreim (alternate/cross rhyme): abab
- umgreifender oder verschränkter Reim (embracing/envelope rhyme): abba
- Schweifreim (tail rhyme): aabccb, abcabc.
3
Boundaries of Lines
The end-stopped line (Zeilenstil) requires a little pause at the end of the line that agrees with a
syntactic unit.
The run-on-line (Zeilensprung, Enjambement) demands that the reader pass over the end of the
line because the sentence moves on into the next verse.
A comma, colon, or full stop within a line of verse indicates a pause (caesura, Zäsur). The
rhythmic dynamics of a poem is determined by the tension between the line of verse and
the syntactical order.
William Wordsworth. 1770–1850: Daffodils
I WANDER'D lonely as a cloud
That floats on high o'er vales and hills,
When all at once I saw a crowd,
A host, of golden daffodils;
Beside the lake, beneath the trees,
5 Fluttering and dancing in the breeze.
4
Free verse (freier Vers)
Free verse (freier Vers) similar to ordinary speech or prose.
T. S. Eliot's poetry wavers between metric patterns and free verse, a form that
corresponds to his belief that a good knowledge of poetic tradition is the basis of
innovation (see "The Love Song", 2.2). The American poet Walt Whitman (181992) celebrated the ordinary man and the liberation of democratic people in a
poetic language liberated from the chains of rhyme, metre, and traditional stanza.
His form of free verse creates rhythm on top of the stress on meaningful words by
the repetition of sounds, words, and phrases in rather long lines:
Walt Whitman, a kosmos, of Manhattan the son,
Turbulent, fleshy, sensual, eating, drinking and breeding,
No sentimentalist, no stander above men and women or apart from them.
No more modest than immodest.
Unscrew the locks from the doors!
Unscrew the doors themselves from their jambs!
Whoever degrades another degrades me,
And whatever is done or said returns at last to me.
("Song of Myself" 24, 1855/81; NAAL I: 1990)
5
Metaphor: transfer of meanings
Tenor
Vehicle
Edmund
pig
fat/dirty/greedy/noisy/vulgar
(Edmund the pig)
6
Metaphor
•
Der gemeinte Begriff oder Bildempfänger (tenor) wird mit einem
Bild oder Bildspender (vehicle) gleichgesetzt auf Grund einer
Ähnlichkeit (ground) oder einer dabei übertragenen Qualität
(tertium comparationis), die bei der Metapher häufig unbestimmter
als beim Vergleich ist und daher mehr Deutungen offen lässt.
•
tote Metaphern (dead metaphor) wie „das Stuhlbein“
7
Allegory / Allegorie
The allegory transforms a general, abstract concept into a concrete
image, person, or story. For example, the world is often conceived as a
stage, and life as a journey. Artists delineate Justice as a blindfolded
woman with scales and a sword.
8
Personification / Personifikation
The personification transforms things or abstract concepts into human agents.
Germans tend to be puzzled when someone says that "she broke down",
meaning the car, or when the sun is "he" and the moon "she". Without
personification, cartoons and animated movies would be half as entertaining.
The Romantic Wordsworth personifies flowers in order to convey the isolated
poet's enjoyment of nature as a substitute for alienating society:
I wandered lonely as a cloud
That floats on high o'er vales and hills,
When all at once I saw a crowd,
A host, of golden daffodils;
Beside the lake, beneath the trees,
Fluttering and dancing in the breeze. [. . .]
A poet could not but be gay,
In such a jocund company [. . .]
(1807, NAEL 1: 284-85)
9
Symbol / symbol
The symbol evokes a concrete phenomenon which points to abstract, often more general and
ambiguous meanings.
The colour white symbolises innocence, a red rose love, black clothes mourning, a dove
peace, a flag a nation, broad white stripes on the tar a pedestrian crossing.
The American poet Edgar Allan Poe (1809-49) expands the traditional meaning of the bird of
ill omen, "The Raven". A young man, who fell asleep while reading a strange old book
around midnight, envisions a raven, which responds with the single answer "Nevermore"
to all of his questions. The young man asks the raven whether he would relieve his
painful memory of the dead Lenore or meet her again after death but then becomes
annoyed with the obscure bird. This raven symbolises the powers of frustration,
meaninglessness, melancholy, despair, and darkness, which haunt the young man:
"Get thee back into the tempest and the Night's Plutonian shore!
Leave no black plume as a token of that lie thy soul hath spoken!
Leave my loneliness unbroken! – quit the bust above my door!
Take thy beak from out my heart, and take thy form from off my door!"
Quoth the Raven "Nevermore."
And the Raven, never flitting, still is sitting, still is sitting
...
And the lamp-light o'er him streaming throws his shadow on the floor;
And my soul from out that shadow that lies floating on the floor
Shall be lifted – nevermore!
(1845, NAAL 1: 1372)
10
metonymy / Metonymie
The metonymy (Metonymie) replaces a concept by one that is closely related to it. It does
not, like the metaphor, explore new meanings but rather varies the focus within the same
frame of reference. Typical examples are:
-
the crown as a symbol of status and function replaces the queen
an abstract noun stands for an institution ("Faith against abortion.")
the name of a place represents its inhabitants ("Manchester welcomes the champions.")
the name of an author signifies his/her work ("Have you read Virginia Woolf?")
the cause replaces the effect or vice versa ("Have you got a light?", Ecstasy, speed)
the means are used instead of the end ("She spoke her native tongue.")
the container means the content ("Have one more glass.")
11
synecdoche - Synekdoche
The synecdoche replaces the part for the whole (pars pro toto) or the
whole for the part (totum pro parte) for reasons of variation or
foregrounding particular aspects or general functions:
-
a part replaces the whole ("a roof over one's head") or vice versa,
-
the singular is used instead of the plural ("Man is selfish and cruel.") or
vice versa,
- the material reduces the object ("the woolly kind": sheep).
12
Puns
The pun (Wortspiel, Paronomasie) plays with the meanings of two words that are
pronounced in the same way.
Puns are often used in jokes:
Who invented the four-day working week? Robinson: he had all his work done by
Friday.
Grandma says: "Men are like linoleum floors: Lay them right and you can walk
over them for 30 years."
13
CONCEIT
conceit (von ital. concetto: Begriff), ein Vergleich sehr weit
auseinanderliegende Bereiche, wie T. S. Eliot in “The Love Song of J.
Alfred Prufrock”:
„Let us go then, you and I / when the evening is spread out against the
sky/ like a patient etherized upon a table“.
Discordia concors
14
Same Topic in German
15
Die Metonymie (metonymy) ersetzt einen Begriff durch einen anderen, der zu ihm in
einem engen Verhältnis steht und der deshalb nicht wie die Metapher neue Bedeutungen
erschließt, sondern das Bekannte lediglich variiert. So kennzeichnet
- die Krone den Status und die Person des Königs
- ein abstrakter Begriff eine Person oder Institution (die Nächstenliebe in Person für Mutter
Theresa)
- der Name eines Autors sein Werk (Hast Du den letzten Grisham gelesen?)
- der Ortsname seine Bewohner (München im Fußballfieber)
- eine Ursache seine Wirkung, ein Mittel seinen Zweck oder umgekehrt (Er fährt einen
heißen Reifen; Hast Du Feuer?)
- die Kleidung das Geschlecht (eine Hosenrolle spielen; am Rockzipfel hängen), und
- das Gefäß den Inhalt („Noch ein Glas, bitte!“).
Die Synekdoche (synecdoche) ist der Metonymie eng verwandt und wird manchmal als
ihre Unterart klassifiziert. Bei der Synekdoche ersetzt
- ein Teil das Ganze oder umgekehrt (auch pars pro toto genannt: ein Dach über dem Kopf
für eine Hütte/ein Haus)
- die Einzahl die Mehrzahl oder umgekehrt (Der Mensch ist ein Gewohnheitstier), und
- das Material den Gegenstand (der Stahl den Dolch, das Leder den Ball).
16
Die Allegorie (allegory) setzt einen abstrakten, allgemeinen Begriff oder Vorgang
in ein konventionelles Bild, eine Person oder Geschichte um. Wenn die Justitia
als Frau mit verbundenen Augen, einer Waagschale und einem Schwert
dargestellt wird, werden genau das Urteilen ohne Ansehen der Person, das
gerechte Abwägen von Schuld und Unschuld sowie die Bestrafung
versinnbildlicht. Eine Reise kann als Allegorie für den Lebensweg dienen. In As
You Like It beschreibt Shakespeare die Welt allegorisch als Bühne, auf der die
Menschen ihre Rollen spielen: „All the world’s a stage, / And all the men and
women merely players. / They have their exits and their entrances, / And one
man in his time plays many parts“ (2.7.139-142).
Die Personifikation (personification) ist eine Unterart der Allegorie und lässt
abstrakte Konzepte oder Eigenschaften als handelnde Typen auftreten, wie z. B.
der Neid, der auf den Reichtum schielt oder die Unschuld, die von der Wollust
verführt wird. Metonymie, Synekdoche, Allegorie und Personifikation sind
Figuren, die Konzepte variieren und illustrieren und auf Grund ihrer relativ
konventionellen Formen eher überlesen als nicht verstanden werden. Allerdings
sollten auch sie auf ihren Kontext bezogen werden, um zu sehen, was sie dort
leisten. Wenn man synekdochisch einen Arbeiter als „a hand“ bezeichnet,
reduziert man den ganzen Menschen auf seine bloss körperliche Arbeit und
nimmt ihn nicht als empfindendes und denkendes Wesen wahr.
17
Das Symbol ist ein konkretes Phänomen, das auf eine abstrakte, oft vieldeutige
und nicht ganz auszuschöpfende Bedeutung verweist. Im alltäglichen
Sprachgebrauch bezeichnen wir ohne große Unterscheidung als symbolisch
alle möglichen Zeichen, die auf etwas anderes verweisen, wie schwarze
Kleidung auf Trauer, gelbe Blätter auf den Herbst, der Stern auf eine bekannte
Automarke, die Schere auf einen Friseur oder Schneider, ein Herz auf die
Liebe, ein rundes weißes Schild mit rotem Rand darauf, dass die Durchfahrt
von dieser Richtung verboten ist.
18
19
Blazon
Form of representing a
woman's beauty in the
Petrarchan tradition
more general definition (up to
the 18th cent.):
description of a man or
woman in terms of a
normative taxonomy -physical beauty, fortune,
family, education, and
character
20
Rime and Metre
rime royale: rhyme scheme ababbcc on lines of ten syllables; used by Chaucer in
The Canterbury Tales as well as other works like Troilus and Criseyde and
The Parliament of Fowls.
blank verse-poetry that does not rhyme, but has a musical tune to it. This is
because it is written in iambic pentameter which is a line with 10
syllables. An unstressed syllable is followed by a stressed syllable. This pair
of syllables is called a foot. Therefore, with 10 syllables, there would be 5
feet.
Iambic pentameter sounds like:
Dah Dum/ Dah Dum/ Dah Dum/ Dah Dum/ Dah Dum
Romeo and Juliet is written in iambic pentameter, except for Act I.
Paris: “These times/ of woe/ afford /no time/ to woo.” (Act II.iv.8)
21
Sonett/ sonnet
Italian Sonnet:
2 quatrains/ Quartett = 1 octet/ Oktett
2 tercets/ Terzett = 1 sestet/ Sextett
English/Elizabethan/ Shakespearian sonnet:
3 quatrains
1 couplet
22
„Rival“ Poets
Sir Philip Sidney (1554-1586)
Edmund Spenser (1552-1599)
William Shakespeare (1564 -1616)
John Donne (1572-1631)
23
Shakespeare‘s Work
37 plays
154 Sonnets
(written between 1592-1598; publ. 1609)
Sonnets 1-126 = "young man" sonnets
Sonnets 127-154 = "dark lady" sonnets
two poems:
Venus and Adonis (1593)
The Rape of Lucrece (1594)
24
The term „metaphysical poetry“
Dr. Samuel Johnson, the most influential critic of the 18th cent., says
about the metaphysicals‘s choice of imagery in 1779:
... wit, abstraked from its effects upon the hearer, may be more rigorously
and philosophically considered as a kind of discordia concors; a
combination of dissimilar images, or discovery of occult resemblances
in things apparently unlike. Of wit, thus defined, they have more than
enough. The most heterogeneous ideas are yoked by violence together;
nature and art are ransacked for illustrations, comparisons, and
allusions; their learning instructs, and their subtlety surprises; but the
reader commonly thinks his improvement dearly bought, and, though
he sometimes admires, is seldom pleased.
25
• It would be wrong to identify the explicit lyrical I,
persona (lyrisches Ich), or the implicit voice
(Stimme) with the real author because every poem
defines its persona by his/her mood (Stimmung),
tone (attitude, Haltung), questions and statements in
a fictional situation, which need not be based on
autobiographical experience. Within the text, a
persona or a voice presents his/her present feelings,
observations, and reflections to an implicit or explicit
listener or fictive addressee (Adressat).
26
27
Communication Systems
Internal Communication
¾Action on Stage with Actors as Sender and Receiver
External Communication
¾Action on Stage with the audience as Receiver
28
Types of modern drama
comedy of manners
well-made play
drawing room drama
kitchen-sink drama
29
30
Perhaps it would help to look at Brecht's famous list of differences between his kind of theatre, Epic
theatre, and what he called Dramatic theatre: The modern theatre is the epic theatre. The following table
shows certain changes of emphasis as between the dramatic and the epic theatre
DRAMATIC THEATRE
plot
implicates the spectator in a stage situation
wears down his capacity for action
provides him with sensations
Experience
the spectator is involved in something
suggestion
instinctive feelings are preserved
the spectator is in the thick of it, shares the
experience
the human being is taken for granted
he is unalterable
eyes on the finish
one scene makes another
growth
linear development
evolutionary determinism
man as a fixed point
thought determines being
feeling
EPIC THEATRE
narrative
turns the spectator into an observer, but
arouses his capacity for action
forces him to take decisions
picture of the world
he is made to face something
argument
brought to the point of recognition
the spectator stands outside, studies
the human being is the object of the inquiry
he is alterable and able to alter
eyes on the course
each scene for itself
montage
in curves
jumps
man as a process
social being determines thought
Reason
31
Subsidized Theatre
Three types of theatre in post-war England:
1) Subsidized Theatre (Arts Council/ National Lottery)
2) Commercial Theatre (West-End)
3) Fringe-Theatre
The Subsidized Theatre
Since 1967 Arts Council (part of the Department of Education and Sciences):
a) "to develop and improve the knowledge, understanding and practice of the arts"
b) "to increase the accessibility of the arts to the public throughout Great Britain"
Arts Council payed:
1) supplementary grants
2) Housing the Arts-Fond (new theatre buildings)
3) Theatre Touring Schemes
4) Stipends for actors and playwrights
32
John Osborne‘s Look
Back in Anger at the
Royal Court (1956),
dir. By George Devine
Samuel Beckett‘s Waiting for
Godot; the first production:
Theatre de Babylone, January
1953; the first productions in
English: Arts Theatre, London,
August 1955 and Pike Theatre,
Dublin, October 1955.
1956
From 27. August 1956 until
15. September 1956 the
Berlin ensemble
performed Mother
Courage and The
Caucasian Chalk Circle in
the London Palace.
Kenneth Tynan, the
famous critic of The
Observer helped to
establish Brecht in
England.
33
Angry Young Men
The term was originally taken from the title of Leslie Allen
Paul's autobiography, Angry Young Man ( 1951).
angry = dissentient or disgruntled
Discontentment with the hypocritical institutions of English
society (Establishment)
disillusionment with its own achievements and hopes
Drama: John Osborne, Look in Back in Anger
Novel: Kingsley Amis (Lucky Jim), John Braine, John Wain,
and Alan Sillitoe.
34
35
Fragen: I) 1st / 3rd person? II) hetero- or homodiegetic III) internel or external focalizer
36
Narrative situations
narrator; narratorial voice, narrator's voice
I: Stanzel: first-person narrator (Ich-Erzähler) // Genette: homodiegetic narrator: shares the characters'
world (narrating I (erzählendes Ich)/ (I-as-witness) and the experiencing I (erlebendes Ich)/ (Ias-protagonist)
allwissender Erzähler = omniscient narrator// allgegenwärtiger Erzähler = omnipresent narrator
eingeschränkt/ allwissender Erzähler = limited/ omniscient narrator
narrative Allwissenheit = narrative omniscience vs. beschränktes Wissen = limited knowledge
auffälliger, sichtbarer Erzähler = overt narrator vs. unauffälliger Erzähler = covert narrator
Überlegungen des Erzählers = narratorial reflections
II: Stanzel: authorial narrator (auktorialer Erzähler)// Genette: heterodiegetic narrator
auktorialer Erzähler = auctorial/authorial narrator: is beyond the characters' world and looks at it from
the outside but also has the ability to look into characters
auktoriale Erzählsituation = authorial narrative situation, omniscient
glaubwürdiger, zuverlässiger Erzähler = reliable narrator
unglaubwürdiger, unzuverlässiger = unreliable narrator
III: Stanzel's figural narrative situation (personale Erzählsituation) has no visible narrator and presents
events through a character's perspective. personale Erzählsituation (Stanzel) = figural
narrative situation (Stanzel); Reflektorfigur f = reflector (character) (=dramatised thirdperson narrator)// Mieke Bal does not merely ask "who sees?" (as does Genette), but expands the
question to include an object - "Who sees what?".
37
Stanzel
38
heterodiegetic vs homodiegetic narrator
heterodiegetischer Erzähler = heterodiegetic/undramatised narrator
Erzähler, der außerhalb der
Handlung steht
= narrator who is situated outside the story
homodiegetischer Erzähler = homodiegetic/dramatised narrator
39
personale Erzählsituation
(figural narrative situation)
The term personale Erzählsituation (figural narrative situation) wrongly suggests that
the narrator takes the shape of a fully blown person but it actually refers to the
character's perspective. Readers get the impression that they share the thoughts,
feelings, and perceptions of a character, who serves as a (subjective) reflector of the
fictional world. Figural narratives show scenes in the world through the eyes of
characters, whereas first-person and authorial narrators often foreground their
discourse and tell us about the world with a certain distance.
Reality television serves as a good example for the difference between figural
narrative and first-person narrative. Reality television of crimes presents the views of
characters in action and the description of their experience in voice-over at the same
time. The combination of the immediate visual presence of the subjective
perspective, simulated with a hand-held camera, and the parallel third-person
description is akin to an figural narrative. These scenes are often framed by
retrospective first-person comments from the victims or the perpetrators of the crimes
and by neutral explanations from experts. (Michael Meyer)
40
From
Diegetic
To
Mimetic
41
Nünning’s model for describing narrative
instances in a text. Please use its terminology to
describe narrative situations
categories of
differentiation
degrees / poles
level of communication of
speaker
extradiegetic
intradiegetic
presence of the speaker in
the story
homodiegetic
heterodiegetic
involvement in the related
action
not involved
autodiegetic
degree of explicity
neutral (implicit)
explicit
degree of reliability
reliable
unreliable
42
Analyse and define the narrative situation of this text!
•
The man that was come in to the house then spoke to the
nursingwoman and he asked her how it fared with the woman that lay
there in childbed. The nursingwoman answered him and said that that
woman was in throes now full three days and that it would be a hard
birth unneth to bear but that now in a little it would be. She said thereto
that she had seen many births of women but never was none so hard as
was that woman's birth. Then she set it all forth to him for because she
knew the man that time was had lived nigh that house. The man
hearkened to her words for he felt with wonder women's woe in the
travail that they have of motherhood and he wondered to look on her
face that was a fair face for any man to see but yet was she left after
long years a handmaid.
43
Analyse and define the narrative situation of this text!
My father, his youngest son, fell in love with a poor relation, who lived with the
old gentleman, and performed the office of housekeeper; whom he privately
espoused; of which marriage I am the first fruit.--During her pregnancy, a
dream discomposed my mother so much, that my father, tired with her
importunity, at last consulted a seer, whose favourable interpretation he would
have secured before-hand by a bribe, but found him incorruptible. She
dreamed, she was delivered of a tennis-ball, which the devil (who to her great
surprize, acted the part of a midwife) struck so forcibly with a racket, that it
disappeared in an instant; and she was for some time inconsolable for the loss
of her off-spring; when all of a sudden, she beheld it return with equal
violence, and earth itself beneath her feet, whence immediately sprung up a
goodly tree covered with blossoms, the scent of which operated so strongly on
her nerves that she awoke.--The attentive sage, after some deliberation,
assured my parents, that their first-born would be a great traveller, that he
would undergo many dangers and difficulties, and at last return to his native
land, where he would flourish with great reputation and happiness.—
44
Text 1:
Then the breeze stirred rather more briskly overhead and the colour was flashed into the air
above, into the eyes of the men and women who walk in Kew Gardens in July.
The figures of these men and women straggled past the flower-bed with a curiously irregular
movement [...] 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 somewhere over there by a
lake and I begged her to marry me all through the hot afternoon. How the dragonfly kept
circling round us [...]; for some reason I thought that if it settled there, on that leaf, [...]
she would say 'Yes' at once. But the dragonfly went round and round: it never settled
anywhere [...] I shouldn't be walking here with Eleanor and the children - Tell me,
Eleanor. D'you ever think of the past?"
aus: Viginia Woolf "Kew Gardens" (publ. 1921)
45
James Joyce
The gravediggers took up their spades and flung heavy clods of clay in on the
coffin. Mr Bloom turned away his face. And if he was alive all the time?
Whew! By jingo, that would be awful! No, no: he is dead, of course. Of course
he is dead. Monday he died. They ought to have some law to pierce the heart
and make sure or an electric clock or a telephone in the coffin and some kind
of a canvas airhole. Flag of distress. Three days. Rather long to keep them in
summer. Just as well to get shut of them as soon as you are sure there's no.
The clay fell softer. Begin to be forgotten. Out of sight, out of mind.
The caretaker moved away a few paces and put on his hat. Had enough of it. The
mourners took heart of grace, one by one, covering themselves without show.
Mr Bloom put on his hat and saw the portly figure make its way deftly through
the maze of graves. Quietly, sure of his ground, he traversed the dismal fields.
46
Welcher Rede- oder Gedankenstil liegt in den folgenden
Sätzen vor? (3 pts.).
1) He wished to go on with his thoughts.
a b c d
2) What would they say of her in the Stores ...
a b c d
3) "Fifteen years ago I came here with Lily," he thought.
a b c d
a)
b)
c)
d)
report of thought act
direct thought
free indirect thought
direct speech
47
Benennen Sie die unten verwendeten “thought styles” (2 Pkte)!
Bloom wondered what he should do
__________________________________
What on earth should he do?
_________________________________
Bloom thought, “What on earth shall I do?” ___________________________________
Bloom pondered his next move
____________________________________
48
John Keats (1795-1821): "On First Looking Into Chapman>s Homer"
In this poem Keats describes the feelings he had, when he read Chapman>s translation of Homer for the
first time.
1
2
3
4
5
6
7
8
9
10
11
12
13
14
Much have I travell'd in the realms of gold,
And many goodly states and kingdoms seen;
Round many western islands (A) have I been
Which bards in fealty to Apollo hold.
Oft of one wide expanse had I been told
That deep-brow'd Homer ruled as his demesne (B);
Yet did I never breathe its pure serene
Till I heard Chapman speak out loud and bold:
Then felt I like some watcher of the skies (C)
When a new planet swims into his ken;
Or like stout Cortez when with eagle eyes
He star'd at the Pacific (D)--and all his men
Look'd at each other with a wild surmise-Silent, upon a peak in Darien.
realm - a royal domain, kingdom; bard - poet; fealty - faithful service to a lord; expanse - an
uninterrupted space; demesne - possession of land, estate; serene - tranquillity, calmness; ken knowledge, mental perception, understanding; stout - strong; Cortez - Spanish conqueror who
Keats believes was the first to have seen the Pacific Ocean (actually it was Balboa in 49
1513);
surmise - conjecture, guess; peak - top of a mountain; Darien - Isthmus of, former name of the
Isthmus of Panama.
Vocabulary
Außenperspektive f = external point of view
Innenperspektive f = internal point of view
Figurenrede f = characters' speech
Figurenstimme f = figural voice
Gedankenbericht m = psycho narration
Gedankenwiedergabe f = representation of thought
impliziter Autor/Leser = implied author/reader
innerer Monolog = interior monologue
Rede f
(stumme) direkte Rede/Gedankenwiedergabe = (free) direct speech/thought
(stumme) indirekte Rede/ Gedankenwiedergabe = (free) indirect speech/thought
Mischung aus Erzähler- und Figurenrede
narrated monologue, free indirect discourse/speech/style, style indirect libre
50