Bøger af Julie Dillenkofer

Studienarbeit aus dem Jahr 2013 im Fachbereich Romanistik - Spanische Sprache, Literatur, Landeskunde, Note: 2,3, Ruprecht-Karls-Universität Heidelberg (Romanisches Seminar), Veranstaltung: Pedro Calderón de la Barca, Sprache: Deutsch, Abstract: Die Komödie "La dama duende" (deutscher Titel: Dame Kobold) und das Drama "La vida es sueño" (deutscher Titel: Das Leben ist Traum) des großen spanischen Poeten Pedro Calderón de la Barca handeln beide von Intrigen, von Sein und Schein, von Verwandlung und Verwirrung. Beide Werke haben eine weibliche Figur als Heldin. In "La dama duende" strebt die eingesperrte Doña Ángela nach Freiheit und Liebe; in "La vida es sueño" kämpft die entwürdigte Rosaura für ihre Ehre als auch für die Liebe. Die im 17. Jahrhundert verfassten spanischen Stücke repräsentieren die typischen Charaktere und Themen der romanischen Dichtung des Siglo de Oro, des sogenannten Goldenen Zeitalters Spaniens, welches von 1550 bis 1680 dauerte. Doña Ángela und Rosaura als charakteristische Hauptfiguren der damaligen Zeit sind beide jung, attraktiv und geistreich. Angetrieben von Liebe und Ehre kämpfen sie erfolgreich für ihre Ziele. Die Motive der Liebe und der Ehre sind wesentliche Elemente ¿ nicht nur in Calderóns Werken, sondern in der gesamten romanischen Literatur des Goldenen Zeitalters.

Seminar paper from the year 2015 in the subject Didactics - English - Literature, Works, grade: 2,3, University of Heidelberg (Anglistisches Seminar), course: The First Century of US-American Drama, language: English, abstract: In this paper, I will compare the character of Desdemona in the play "Othello" by Shakespeare with that in the burlesque opera "Otello" by Rice. I will first analyze the figure of Desdemona in Shakespeare¿s play and then in Rice¿s opera ¿ one after another. Next, I will compare the two characters of Desdemona and will explore in which ways their qualities coin-cide, or rather, in what extent they differ in their personalities. Lastly, I will briefly summarize the different characters of Desdemona in both "Othello" and "Otello". William Shakespeare¿s "Othello" portrays the mixed-race love between Desdemona, a white Venetian beauty, and the Moor Othello, Venice¿s general. Mislead by Iago, his ensign and also the play¿s villain, Othello develops an unfounded suspicion of his wife Desdemona and his lieu-tenant Cassio, which results not only in Othello¿s suicide, but also in the murder of his wife who, as it turns out, has been innocent of adultery all along. The tragedy thus represents love and good on the one hand (embodied by Desdemona) and the involved problem of jealousy and revenge (personified by Othello) ¿ not least the issue of miscegenation ¿ on the other hand. As many of Shakespeare¿s works (which usually are adaptations themselves), "Othello", first performed in 1606, has been the basis for numerous subsequent adaptations, such as the burlesque opera by Thomas D. Rice of 1844. The operäs plot is essentially similar to that of the play by Shakespeare, yet a few changes have been made. In Rice¿s parody, Otello and Desdemona have a child and Shakespeare¿s handkerchief has become a common towel. Yet the most conspicuous alteration is Desdemonäs resurrection after being killed at the end of the play. Apart from that, it appears that the two characters of Desdemona in both "Othello" and "Otello" are quite alike. Depicted as a rather subordinate role in both the play and the opera, as compared to her husband and the title character Othello/Otello, Desdemona actually portrays the heroine in both stories. Both become victims of their husbands¿ jealousy and finally have to die despite being innocent. When taking a closer look, however, it becomes apparent that the two characters are not that comparable in their personality as initially seems to be the case. In fact, they both gradually reveal themselves as rather different people.

Seminar paper from the year 2015 in the subject Didactics for the subject English - Literature, Works, grade: 1,7, University of Heidelberg (Anglistisches Seminar), course: Literature & Film ¿ Adapting Shakespeare for the Screen, language: English, abstract: William Shakespeare¿s "As You Like It" portrays love and marriage in a comical, amusing manner. The play represents passionate love on the one hand, as well as disguised, blind and even manipulated love on the other hand.Love as a state of being is omnipresent throughout As You Like It. As the play¿s major theme, love is illustrated essentially by eight characters who all marry at the end of the play. However, As You Like It cannot be interpreted as a typical love story. In fact, only one twosome, namely Rosalind and Orlando, illustrates a relationship of true love which ends in a happy, mutually agreeable marriage. By falling in love at first sight, they symbolize the typical Shakespearean romantic lovers whose love overcomes any obstacles. The other couples in the play, however, seem to pursue rather different goals. Audrey and Touchstone simply wish to act on their sexual desire, which they cleverly hide behind marriage in order to prevent any ¿Vorwurf der Unzucht¿ ¿ a serious matter in Elizabethan times. Phoebe and Silvius are both in love, though not reciprocally. Silvius does love Phoebe; she, however, falls in love with Ganymede and is merely tricked into committing herself to Silvius. Celia and Oliver are simply following the lead of Rosalind and Orlando, but seem to strive for companionship rather than passion or true love. Shakespeare illustrates four different kinds of love in As You Like It in a humorous way. He demonstrates that love and marriage do not necessarily have to go hand in hand and adds comical aspects of love by turning some characters into fools. In this way, Shakespeare builds on the Elizabethan assumptions about love as a sickness, but still validates it as a valuable aspect of a happy marriage.