Bøger af Rene Fassbender

Essay from the year 2005 in the subject English Language and Literature Studies - Culture and Applied Geography, grade: 2.0, University of Heidelberg, language: English, abstract: The title of the movie Sankofa, directed by Haile Gerima in 1993, has been carefully chosen. Sankofa is a word from the Akan people of Ghana for a special, mythological bird, which turns its head back to hold the egg upon its back. Thus, by taking care of its egg, the future generation is ensured. The Sankofa bird has become a symbol in Ghana and other parts of west Africa which stands for the concept that one has to look back, rediscover and reclaim the past in order to face the future and move forward.Gerima variously integrated this concept in his movie both in the outer plot, i.e. Monäs realization of her roots in the present, and the inner plot, i.e. within her spiritual journey to the past, especially by means of Monäs alter ego Shola and the character of Joe, who both have to undergo intensive change until they finally find and realize their true self.So, in this essay, I will first give some background information on Haile Gerima and his motives for making a movie like Sankofa, as far as it is germane to the further theses. Then, I will focus on the characters of Mona, which involves her alter ego Shola, and Joe. I will outline how the Sankofa concept applies to their realization of their true self by means of having an in-depth look at both reasons and development of their change. How and why did the White people try to prevent them from realizing their true self and how were they able to see it in the end despite all the manipulation? In a conclusion I will point out common and differing features of their change, as well as its effect upon themselves.

Studienarbeit aus dem Jahr 2004 im Fachbereich Anglistik - Literatur, Note: 1.5, Ruprecht-Karls-Universität Heidelberg, Veranstaltung: ''All the World¿s a Stage'' An Introduction to Shakespeare, Sprache: Deutsch, Abstract: This paper offers a detailed analysis of Shylock's depiction in Shakespeare's "Merchant of Venice" and why he may not be a typical villain (or a villain at all).Undoubtedly, "The Merchant of Venice" is one of Shakespeare's most controversial plays, courtesy of the both interesting and complex character of Shylock the Jew. The play is basically a romantic comedy but the requirements of genre are scorned. It begins with brotherly love and ends with joy, at least for the Christians. However, in between, there is Shylock, who adds a very serious undertone to the play and makes it oddly profound for a comedy. Although Shylock appears in but five out of twenty scenes, he represents a permanent threat and overshadows most of the play. No other character has so much "force, subtlety, vitality, variety; above all, none other has his intensity, isolation and apparent depth of motivation." It would be all too easy to explain this motivation and the way he is presented by means of mere anti-Semitism and stereotypes. Although Shakespeare could not ignore the prejudices of his time, "we should beware of attributing to Shakespeare and his audiences the cruelty of our own century." Those who intend to track down anti-Semitism in the play will not fail to find it. All too often, however, they will be blind to everything else and make the regrettable mistake of cutting both Shylock's character and the complexity of the play. There is more to Shylock, much more. His character can and should have the power to make the audience think.Thus, one should have a close look at Shylock starting with the first things we get to know about him but without being oblivious to the social and historical background of the play's original reception. Furthermore, it is necessary to examine the depths of his character by means of analysing the development as well as the degree of obviousness of his motivation in order to disclose what moves and drives him. In the end, it should be possible to realise the underlying cause of his actions and draw corresponding conclusions.

Studienarbeit aus dem Jahr 2004 im Fachbereich Latinistik - Literatur, Note: 1.25, Ruprecht-Karls-Universität Heidelberg (Klassische Philologie), Sprache: Deutsch, Abstract: Diese Seminararbeit bietet eine tiefgreifende Analyse der Darstellung von Widerstand und Tod des Thrasea Paetus in den Annalen des Tacitus. Publius Clodius Thrasea Paetus stammte aus Patavium, erlangte 56 das Konsulat, war danach noch bis zum Jahr 63 im Senat tätig und zählte zur sogenannten stoischen Senatsopposition. Auch wenn sein Konsulat wohl eher auf den zu dieser Zeit noch sehr starken Einfluss Senecas zurückzuführen sein dürfte, so war ein nennenswerter Konflikt zwischen Thrasea und Nero zu Beginn dessen Prinzipats nicht unbedingt absehbar. In diesen Zeiten überwog beim Senat das Streben nach Sicherheit und der Trieb zur Selbsterhaltung, so dass man sich in der Kunst der adulatio übte. Einzig Thrasea ragte aus der Masse der Senatoren heraus: Er beteiligte sich nicht an den Schmeicheleien, stattdessen zog er es vor, zu den meisten Angelegenheiten zu schweigen.Ziel dieser Arbeit ist es, aufzuzeigen, wie diese zumeist schweigende Form von ¿Opposition¿, wenn man den Begriff in diesem Zusammenhang überhaupt anwenden kann, aussah und wie sie die Feindschaft Neros so sehr nähren konnte, dass Thrasea schließlich angeklagt und zum Selbstmord verurteilt wurde.